The First Herb Luba in Internctional Stuccnt Design Competition

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UPPER AND LOWER CASE THE INTERNATIONAL JOURNAL OF TYPOGRAPHICS W PUBLISHED BY INTERNATIONAL TYPEFACE CORPORATION, VOLUME TWELVE, NUMBER FOUR, FEB 1986

The first Herb Luba in Internctional Stuccnt Design Competition cchievec worlc wide interest cnc internctionc I acclaim, It crew entries reflecting the efforts of more thcn 900 cesign stucents on five continents. The jury, imoressec oy the crectivi-y anc civcrsi-y of the su omissions, chose 77 oboes, which inciucoc oosters, books, sculptures anc games, for cn cxhioit ct the ITC Center last foil. See page 38

"IN WEIGHING THE FATE OF THE EARTH AND, WITH IT, OUR OWN FATE, WE STAND OFBEFORE A MYSTERY, AND IN TAMPERING WITH THE EARTHTHE WE TAMPER WITH A MYSTERY. WE ARE IN DEEP IGNORANCE. OUR IGNORANCE SHOULD DISPOSE US TO WONDER, OUR WONDER SHOULD MAKE US HUMBLE, OUR HUMILITY SHOULD INSPIRE US TO REVERENCE AND CAUTION, AND OUR REVERENCE AND CAUTION SHOULD LEAD US TO ACT WITHOUT DELAY TO WITHDRAW THE THREAT WE NOW POSE TO THE EARTH AND TO OURSELVES!" —FROM THE FATE OF THE EARTH BY JONATHAN SCHELL

ARIT 2

VOLUME TWELVE, NUMBER FOUR, FEBRUARY, 1986

EDITOR: EDWARD GOTTSCHALL ART DIRECTOR: BOB FARBER To some this will appear déjà vu; to But today, as the large library of graphic EDITORIAL DIRECTORS: AARON BURNS, EDWARD RONDTHALER ASSOCIATE EDITOR: MARION MULLER others it will be interesting new arts typefaces becomes increasingly ASSISTANT EDITOR: JULIET TRAVISON CONTRIBUTING EDITOR: ALLAN HALEY information. available to laser printers and other out- RESEARCH DIRECTOR: RHODA SPARBER LUBALIN ADVERTISING/PRODUCTION MANAGER: HELENA WALLSCHLAG put devices not dedicated to typography, ASSISTANT ART DIRECTOR: ILENE STRIZVER ART/PRODUCTION: KIM VALERIO,SID TIMM Sixteen years ago, when ITC was founded, nor part of the traditional typographic SUBSCRIPTIONS: ELOISE COLEMAN the best typeface designers were leaving market, the raison d'etre for typeface C INTERNATIONAL TYPEFACE CORPORATION 1986 U&LC (ISSN 0362 6245) IS PUBLISHED QUARTERLY BY INTERNATIONAL TYPE- the field and young new talents were royalties needs to be restated. Typeface FACE CORPORATION, 2 DAG HAMMARSKJOLD PLAZA, NEW YORK, N.Y. 10017. A JOINTLY OWNED SUBSIDIARY OF LUBALIN, BURNS & CO., INC. AND PHOTO- avoiding it. Why? It didn't pay. The year royalties are the most efficient way to LETTERING, INC. U.S SUBSCRIPTION RATES 510 ONE YEAR: FOREIGN SUBSCRIP- encourage and pay for the development TIONS, 515 ONE YEAR: U.S. FUNDS DRAWN ON U.S. BANK. FOREIGN AIR MAIL or more they might invest in a new de- SUBSCRIPTIONS-PLEASE INQUIRE. SECOND-CLASS POSTAGE PAID AT NEW YORK, sign simply wasn't worth the financial and bringing to market of new designs, N.Y. AND ADDITIONAL MAILING OFFICES. POSTMASTER: SEND ADDRESS CHANGES TO U&LC, SUBSCRIPTION DEPARTMENT, 866 SECOND AVENUE, return, even if the design was accepted and the re-drawing and re-engineering of NEW YORK, N.Y. 10017. and marketed. The advent of ITC changed classic designs to meet the technological ITC FOUNDERS: AARON BURNS, PRESIDENT that. By paying a combination of an requirements of the computer age. The EDWARD RONDTHALER, CHAIRMAN EMERITUS HERB LUBALIN, EXECUTIVE VICE PRESIDENT 1970-1981 up-front fee for art and a lifetime pay- following questions and answers aim to ITC OFFICERS 1986: ment of ten percent of the income that make clear the why and how of typeface GEORGE SOHN, CHAIRMAN AARON BURNS, PRESIDENT ITC received for the designs, ITC assured royalties. The information is based on our EDWARD GOTTSCHALL, EXECUTIVE VICE PRESIDENT BOB FARBER, SENIOR VICE PRESIDENT designers of a fair return for their work, own experience at International Typeface EDWARD BENGUIAT, VICE PRESIDENT ALLAN HALEY, VICE PRESIDENT established designers returned to the Corporation (ITC) resulting from the inter- RICHARD CONWAY, CONTROLLER AND GENERAL MANAGER market, and some exceptional new talent national scope of ITC's operations, and MICROFILM COPIES OF U&LC MAY BE OBTAINED FROM MICRO PHOTO DIVISION, BELL & HOWELL, OLD MANSFIELD ROAD, WOOSTER, OH 44691 was attracted to it. because that is what we know best.

In this issue: Editorial Q Why new typefaces? 0 Is that a lot? A little? For newcomers and old-timers—a recapitulation of ITC's A: Companies or individuals starting to A: To answer this question consider the purpose, policies and practices. Page 2 do their own typesetting need a basic following: In the era of metal typography library of typestyles to accommodate the text-type, the magazines for a family of J. M. Bergling design requirements of their communica- type matrices used on a Linotype type- A man who created, nurtured and wedded letterforms into tions and documents. Eventually they will setter for example, cost approximately artful monograms. Page 4 add to that library as they become more $7,500 to $10,000. And as the brass Drawing Pens and Drumsticks sensitive to the specific suitability of differ- matrices in the magazine wore out they ent typefaces to different kinds of mes- had to be replaced. Today's fonts cost This jazz buff improvises at the drawing board, as he does sages. Experienced typographic designers about $150 or less, including the ITC roy- on his drums. Page 8 often want new typeface designs despite alty, and they don't wear out. (If a font is Lou Myers the large library of existing type families. damaged accidentally, a replacement font Steve Heller dissects the art and the man. Page 12 The reasons are twofold:1) a sense of can be purchased without paying a sec- fashion, of wanting something new and a ond royalty.) Typographic Milestones little different. This same sense of fashion All about Aldus Manutius, the 16th century tycoon who drives much of our economy whether gave us portable books, italics and much more. Page 14 based on utilitarian objects or fashion Q Who pays the royalty? ITC Technology Update merchandise. 2) The technological need to A: The purchaser of the font. There is no modify a given typeface or its image per-use fee. The one-time royalty, if paid New hardware, new software, new capabilities and costs— carrier so that it will perform optimally on by a typographic service for example, is digested for quick and easy consumption. Page 18 new equipment. In such cases manufac- often fully recovered on the first job done Department of Weird, Wonderful and turers can re-engineer their existing with it, so that font purchasers really pay Useless Information designs accordingly. nothing toward the royalty. Just for chuckles. Page 20 For the user, switching machines and buying new fonts is much like what hap- FY(T)I (For your typographic information) pened when the record industry moved 0--O-.... What is the reason for A glossary of words and expressions for everyone who from 78 rpm discs to 33 1/3 and now is a royalty? communicates in print. Page 22 shifting to CDs (compact discs). It would A: Type users build type libraries to meet Lubalin H Contest be ideal from the user's viewpoint if the their design for printing or electronic new players were compatible with exist- publishing needs. ITC is one of a number A call for entries for the second annual Herb Lubalin ing discs but often such compatibility can of companies that develop new designs Student Design Contest. Page 24 only be achieved by compromises that and re-engineer existing ones to meet Families to Remember sacrifice more than they gain. those needs. It costs ITC approximately A review of some notable families—both genealogic and $200,000 to design and introduce a new typographic. Page 26 type family. This is true whether an origi- How much is the ITC nal design or a redesign of an existing Contest Winners, Lubalin I royalty? style is being introduced. Obviously, as in The winners of the first annual Herb Lubalin Student A: It varies, depending on how the type- any business, that investmerit must be Design Contest. Page 38 face is output. On a transfer sheet it can be recovered and a fair profit realized. ITC Alphabet as little as 5 cents per sheet purchased. For feels that royalties rather than flat fees the purchase of each lifetime film or digi- make the most sense. The Alphabet with 29 "Eyes:' Page 53 tal font that can output a full range of • sizes, in fine resolution, on a graphic arts This issue of U&lc was mailed to 192,000 readers: 145,000 in the quality typesetter or printer, the ITC royalty 0 Why the royalty route? United States and Canada, and 46,500 abroad. It will be read by approximately 1,000.000 people. is a one-time payment of $30.00. A: ITC's customers (the ITC Subscribers

INDEX TO ITC TYPEFACES

ITC AMERICAN TYPEWRITER® 22, 23, 30-33 ITC GARAMOND CONDENSED ® 14 ITC AVANT GARDE GOTHIC® FRONT COVER ITC LEAWOOD"' 20 ITC BOOKMAN9 22, 23, 34-37, BACK COVER ITC MIXAGE" 12, 13, 18, 19, 21, 39-52 ITC CHELTENHAM® 24 ITC NEWTEXT® 2 ITC CLEARFACE9 25 ITC NOVARESE9 26-29 ITC CUSHING9 20 ITC SYMBOL.'" 24, 25 ITC ESPRIT'" 18, 19 ITC TIFFANY 22 ITC FRANKLIN GOTHIC® 2, 24, 25, 38 ITC USHERWOOD"' 2, 3, 21 FRONT COVER: ITC AVANT GARDE GOTHIC EXTRA LIGHT MASTHEAD, ITC NEWTEXT REGULAR FRIZ QUADRATA 20 ITC VELJOVIC'" 8-11, 21, 38 TABLE OF CONTENTS: ITC USHERWOOD BOOK ITALIC WITH BOLD ITALIC INDEX TO ITC TYPEFACES: ITC GALLIARD9 53 ITC WEIDEMANN'" 20 ITC FRANKLIN GOTHIC BOOK WITH DEMI ITC GARAMOND* 4-7, 14-17 3

EDITORIAL

ITC and typeface design-a restatement of principles and policies

listed elsewhere in this publication) pay no ■ Typeface designs, new ones, including added value that ITC typefaces offer is far money up front for the art supplied by ITC's, are now protected in West Germany greater than the one-time royalty which ITC. No payment is made until they manu- and in France. makes them possible. facture and sell their image carriers bear- ■ Typeface names are protectable in the United States and abroad. All ITC typeface ing ITC fonts. This is easy for them and --O What is the real value names are registered in the United States, 0■■•■ payments are usually passed on as part of of typeface design and name France, and Germany. the font price, and are tied to actual sales. protection? No one pays royalties for fonts that don't ■ Manufacturers protect their digital fonts To inhibit would-be copyists from sell—that don't meet a market need or from plagiarism by electronically linking A: unethically offering the creations of others demand. As with book and record publish- each font to a specific output device. as their own (and at lower prices since ers, the popular typefaces compensate for copying is much less costly than creating). the slower or poorer sellers. Throughout What is the connec- The copyists add no value to the market, the industry this system has been accepted tion, if any, between legal but they drive typeface designers out of as the most equitable to all concerned. protection and royalties? the market, since they pay absolutely A: None. As with anything else one buys, nothing to the artists who originate the Q What does ITC supply one pays for value received. In the case of typefaces. They can, if encouraged. dry up to its Subscribers? ITC typefaces you may be buying a design the creative source of this market. To see that this does not happen it is in the inter- A: Subscribers to the ITC licensing plan you can't get elsewhere, or a restyled and est of type users as well as type manufac- get analog (black and white) art from redesigned version of a traditional face, or turers and vendors to be vigilant and wary which they can make their film or digital a more fully developed typeface family of typeface copyists. fonts. The art is of high quality and is than is offered by another source. The engineered to be easily adapted to a wide range of machines. The art is critically 0 Aren't typeface de- sharp, consistent in size and detail, true in signs in the public domain? every stroke, serif and detail. This editorial In the United States, most are. But, as is not the place to heavily detail what this A: noted above, the royalty for a specific involves, but some idea of the skill and design and name is not a by-product of a care involved can be gleaned from the legal position. The presence or absence of fact that from the time ITC receives a de- legal protection has nothing to do with the signer's art and starts to manufacture the value of a typeface or any product or master analog art for its Subscribers, it takes service you purchase. What you pay is a more than a year before the art will be ap- straightforward marketing fact of life. You proved for release by the manufacturers. pay for value received.

Where does the Q And so, what's in a name? royalty go? 0--■.... A: As we wrote in U&lc in the summer of A: In addition to an up-front fee for pre- paring the original drawings the typeface 1983: "Good name in man and woman, designer is paid ten percent of all royalties dear my lord, the type family earns. The balance covers is the immediate jewel of their souls: the marketing cost (including USLIc) and "Who steals my purse steals trash; leaves a fair profit. When ITC was young 'tis something, nothing; and quite small, the royalty for a font, now "Twas mine,'tis his, and has been slave paying $30.00, was much higher. Very few to thousands; prices have fallen so dramatically in the But he that filches from me my good name past fifteen years. This became possible be- Robs me of that which not enriches him, cause the market for ITC faces expanded, And makes me poor indeed:' and as it did ITC was able to bring its unit Shakespeare, Othello, III,iii,155. royalty price down in a series of steps. Shakespeare's noble thought still applies As volume of sales rose, royalty prices today to those who "filch" typefaces and were reduced. names that belong to others; but it needs updating. Those who appropriate ITC's -....O Are typefaces pro- typefaces or, for example, hope to enrich 0-..... tected legally? themselves by using that which was developed by others deprive both the owner A: This is a complex subject but, in sum- of the name and the designer of the type- mary, here are the key facts: ■ Typeface designs in the United States, face, of their just rewards. Edward M. Gottschall with rare exception, are not protected.

HEADLINE. ITC USHERWOOD BOLD ITALIC SUBHEAD' MEDIUM TEXT, BOOK WITH BLACK BYLINE. BLACK 4

John Mauritz Bergling's name has been set in ITC Gara- mond Bold Condensed' and superimposed on one of Mr. Bergling's hand-drawn illustrations.

LETTERFORM INVENTOR, MASTER ENGRAVER, ONE OF AMERICA'S MOST PROLIFIC-AND LEAST KNOWN-DESIGNERS AND MAYBE, JUST MAYBE, A FATHER OF ART DECO!

It's difficult to reconstruct the nu- Several little-known facts about Mr. En route, he stopped for a time in and for ensuring the high standards merous details of a person's life and Bergling are worth noting at this Kansas City, where he worked for a of the Peacock firm. achievements some 52 years after point: watch-making company. It was While at Peacock—which is still in the fact, even with the help of that there that John Bergling was first First, John Bergling did not work operation in Chicago—Bergling's individual's direct descendant. exposed to the craft of engraving. in typography, as his daughter, renown as a designer and engraver And yet, if the cause is important Virginia, is quick to point out. It may well have been his first intro- spread far and wide. enough, you take what you can get Typography, as we know it, is the duction to illustration since he had and piece together some sort of His personal touch was requested domain of people in the world of no formal training in drawing up to documented record to make sure by dignitaries and the well-heeled printing, that is, the world of type. then. that the person's legacy is pre- from the Northeast, and Midwest John Bergling was a jewelry en- served for generations to come. According to Virginia, her father and abroad. Many people came to graver, and his original designs were operated his own engraving busi- Chicago just to order his designs In the case of John Mauritz Bergling produced for hand-etching on the ness in Kansas City while continu- and engravings for their fine jew- the cause is more than important surface of each piece, one by one. ing to work at the watch company. elry and silverware. enough. A dapper fellow, J. M. Bergling had a You see, J. M. Bergling—the profes- preference for stylish clothes and a sional moniker he preferred—pro- neat, distinguished appearance. He vided a design bridge between the fit in comfortably with the theatre traditional approaches of Victorian crowd and cafe society which society of the 1800s and the emerg- appreciated his work so much. ing look of contemporary graphics from 1900 through today. Early in his career at Peacock, Ber- gling began to feel a strong empa- Not only did he update and bridge thy with other jewelry engravers the graphics designs of his day, he who struggled for hours to make a also created and constructed liter- particular design work. ally thousands of new letterforms, signets, monograms, ciphers and To help make their lives easier, he graphic devices, many of which still started saving his design sketches retain their dynamic appeal 80 and letterform drawings. In 1908, years later! he published the first edition of Art A remarkable aspect of this whole He did eventually reach California, Monograms & Lettering, which The body of Mr. Bergling's work story is the fact that Bergling, a and found himself in uniform in sold for $2.50. Containing more includes alphabets, variations on a right-handed craftsman, only had San Diego as America prepared for than 300 designs, illustrations and theme, design studies and "applied three fingers on his right hand—the the Spanish-American War. examples of monograms, signets, cleverness" in type-as-an-art-tool. result of a childhood accident. Shortly after his military service, he ciphers, and letterforms within 28 While that type of injury would returned to Chicago, married in have been a handicap to the average 1897, and went to work for the person, it might well have been the C.D. Peacock Company, the leading very inspiration behind the genius jewelry store in town, that same which fueled his craftsmanship for year. more than 30 years. John Bergling continued to work He was born in southern Sweden in for Peacock for the next 35 years, 1866 and came to the United States including his final year which was as a young boy, settling in Chicago spent in bed due to a long illness. with his father. When he became a For most of those years, he was young man, the allure of California Peacock's Master Engraver, respon- and the West drew him away from sible for assigning work to the his family home. other people in his department, A A _J pages, the book was an encyclope- veau and Art Deco—years before dia of engraving art. public notice. It may have provided designers in those other disciplines But John Bergling wasn't interested with the very thrust they needed to in helping only people in the field form their own bridges between of jewelry engraving. He wanted to yesterday and tomorrow. aid all designers and craftspeople who worked with letterforms and Now, years later, a question comes monograms, and artists of all styles. to mind: what could this one man, Therefore, the book included style who was certainly a talented, samples of monogram and signet skilled example of pure Renais- designs as well as alphabet varia- sance Man at his best, have pro- tions on a theme—letters with fili- duced if he had ever turned his gree, letters with leaf-and-vine attention to areas of design com- ornamentation, etc. It also incorpo- pletely outside of letterforms and rated many entertaining drawings: alphabets, such as industrial design? We could be driving a Bergling 8, or borders, mermaids, cowboys, birds, John Bergling thought of himself as together, such as in a monogram. jetting to London on a Bergling 757, gargoyles, lions, dragons, dolphins a letterform "inventor." By publish- Over the course of the years to or rocking in a Bergling Bentwood. and assorted flora. ing his books he made his inven- follow, John Bergling produced For all we know, maybe we are! tions available to other designers He explained it best in his own and published three other books and engravers in the United States As for John Bergling, the man, we words, on the Introduction page: in addition to the first, as well as and Europe, where he had numer- know that he loved plants and " ... While this book is in no sense a monogram/signet letterform style ous ties, especially with engravers flowers and animals. At night he text book and does not partake of —sheets for engravers and other in England. would study these beautiful exam- craftsmen who worked with letters any of the 'dryness' characteristic ples of design from nature, sketch- of works of that kind, I have inter- in design. It is possible that through this chan- ing their delicate intricacies in order nel he influenced the graphic de- polated into the subject-matter Bergling's books are: Art Alphabets to incorporate that beauty in his signers and artists who formed the many interesting things that will & Lettering Art Monograms & work and preserve it for evermore. ground force in the emerging Art make a study of its pages both plea- Lettering Ornamental Designs & Nouveau and Art Deco movements. And so he has. And so he has. surable and instructive. Students Illustrations and Heraldic Designs will find it of inestimable value, for & Engraving. Art Nouveau in the early 1900s, and By Lee Sinoff the study of the severer part of the Art Deco—which was officially After his death in 1933, his daugh- lettering will inspire higher and launched at the Paris Exposition in ter Virginia continued to publish more artistic ideals." 1925—reflected the most modern A. Art Monograms & Lettering-1950 Special Edition. and sell her father's books until Originally published in 1908. Paper, 47 pages. Sold for styles-in art,-architecture, and for $2.50 _ _ _ _ _ _ John Bergling fully understood how 1977, when she sold the publishing difficult and frustrating the work that matter, consumer products of B. Art Monograms and Lettering for the use of Engravers- rights to a school specializing in the Artists-Designers and Art Workmen. Published in 1920, with letterforms could be, especially the time. Bergling's first book, pub- paper, 96 pages. Sold for $3.75. jeweler's arts. The books are still when a designer was faced with the lished in 1908, presented many C. Art Monograms and Alphabets (For Embroidery, available. Applique and Fancy Work). Published in 1938, paper, task of making specific letters work styles we would consider Art Nou- 16 pages. Sold for 81.25. 7

CAPTIONS: BOOK WITH BOLD HEADLINE, ITC GARAMOND BOLD CONDENSED SUBHEAD/BYLINE , BOLD TEXT - BOOK WITH BOOK ITALIC 8 DRAWING • PENS AND DRUM-siacKs Joe Ciardiello loves jazz and his drums almost as much as he loves illustration, so it's easy to understand his modus operandi at the drawing board. He goes to work with his drawing pens in much the same improvisational spirit as he does with his drumsticks. He starts with a theme, a small idea—sometimes just a whim—and then lets his mind and his pen roam free. He ex- plores, extends, amplifies and complicates. Sometimes small whims grow into whammo drawings. Sometimes an illustration gets out of hand, and he has to start all over again to get it right. But he is always working for an expression that is sincerely felt and unpremeditated. He encourages his own spontaneity by plunging in directly with pen and ink, with no preparatory pencil drawings.

Like all illustrators, Ciardiello's overriding objective is to find a form, so singular and so personal, that it will be immediately identifiable, even without his signature. It's the work of a lifetime. But even now he is a power- house in black-and-white and completely idiosyncratic in his use of color; injecting it in

Invitation to Society of Illustrators exhibition.

Illustrations ©Joe Ciardiello limited areas and concentrated doses rather than overall. From the look of things, he seems to be well on the way to his goal.

Aside from the musical influence on his work, Ciardiello credits two men with turning him into the illustrator he is today. First there was Murray Tinkelman. When Joe was a senior at the New York City High School of Art and Design, he was committed to becoming a cartoonist. But one day illustrator Murray Tinkelman appeared at the school as a guest lecturer. After hearing him speak, and studying his wild, in- ventive drawings, Ciardiello con- cluded that such drawing offered much broader scope than cartooning. When he enrolled in the Parsons School of Design, it was as an illustration major. It was at Parsons that he experienced the second profound influence on his work. In a figure drawing class with Jim Spanfeller he learned what it meant to let his imagination soar and how to courageously put it all down on paper. In a remarkably short time since his graduation from Parsons (1974), Ciardiello has made a name for himself as a freelance illustrator. His work has been exhibited and published by a number of organizations, including: The Society of Illustrators Annuals, The New York Art Di- rectors Show, Graphis Annual, Society of Publication Designers (he was a Silver Medal winner in 1979), Outstanding American Illustrators (Vol. 2, published in 10

Portrait of John Houston. Japan); and he was the subject of a mini-profile in Print Magazine in June,1984. Exhibitions of his work have been seen at The Staten Island Museum, New York City, Mauro Graphics Gallery, and in a group Illustration show in Quebec,1985.

Among his clients are: ABC Net- work, McCaffery & McCall, Sports Illustrated, Atlantic Monthly, Franklin Library, Business Week, Science '85, Exxon, New York Maga- zine, Changing Times, Ziff-Davis, The Runner, Fortune, Signature, Steve Phillips Design, Random House, The Progressive, Psychology Tbday and Reader's Digest Books.

It seems only fair that he returns to his alma mater, Parsons School of Design, as a guest lecturer now and then—perhaps to motivate other would-be illustrators. He has also lectured at Montclair State College in New Jersey and the Fashion Institute of Technol- ogy in New York City.

Ciardiello lives and works con- tentedly in Staten Island, just a ferry ride away from Manhattan. It offers him reasonable rent, surburban serenity and easy ac- cess to his clients across the bay. Marion Muller

A.B. Illustrations for A Connecticut Yankee in King Arthur's Court, Reader's Digest Books. Magazine cover for Financial Executive. 11

Illustration for Creative Living magazine. Portrait of Norman Mailer for Notre Dame magazine.

Head of a crow. HEADLINE/BYLINE: ITC VELJOVIC BOLD TEXT/CAPTIONS' MEDIUM WITH MEDIUM ITALIC 12

Like the wily medieval jester, who was pretense, producing uneasiness, and always in peril of losing his head to the hence, revelation. whim of a grumpy monarch, and so Myers' vocabulary is simple, his symbols masked his courtly satires behind a comic facade, Lou Myers covers his are recurrent, and his sphere of interest is expansive. In an informal study of intense vitriol behind seemingly naive brushstrokes. Combining the effortless- 100 recent drawings it was found that Lou Myers most enjoys drawing nudity of all ness of a child's scrawl with the conceptual strength of one of life's veterans, kinds, curly haired old ladies, broken Myers hits the funnybone first, and the television sets, subway stations, oil Myers bearing Arabs, phallus-like missiles and intelligence next, with hilariously scab- rous renderings of the comedie humaine doctors with mustaches. His non-sacred and the jokers, boobs and crooks of cows include war and sex, religion and by advertising, psychiatry, perverts and contemporary politics and culture. other erstwhile taboos. In all his car- Though he looks like a youthful (albeit toons ambiguity is absent, leaving no tall) Puck, Myers has been making im- Steven need for the viewer to participate in any ages professionally for almost 50 puzzle solving, since there are no puz- years. Cartooning is both serious fun zles to be solved. He often effectively and meaningful business. His finely Heller wraps up a specific folly in a single tuned, emblematic drawing style is akin panel, but sometimes broken-down to Japanese or Chinese pictographs; walls of the classic comic strip serve his each character is well balanced and communicative purposes. His cartoons evenly proportioned for just the right fall into two other categories as well: A visual impact. But, drawing ability is not the pantomime and narrative. With the Myers' only strength; rather it is the former, the two dimensional characters communication of significant commen- —be they man or beast—gesticulate tary through otherwise anarchic mad- as if animated in life; with the latter, an ness. Sometimes his statements are, acerbic caption or snappy dialogue without doubt, pure lunacies, under- enhances the believability. standable only to himself and a select few,but more often they hit the intended Anger further sets Myers apart from mark by breaking through all social most other "gag" cartoonists. Despite the comedy inherent in an MX missile,

Washington Post Book World 13

or a psychiatrist joke, the depth of his Ultimately though, the most memorable indignation is pungently articulated. Myers achievement is satire, but sadly, About the latter, for example, he be- few outlets are open to the committed lieves "They are the enemy, Before visual satirist these days. As if to com- psychoanalysis, a comic or tragic play pensate, as much as to open new crea- would help man see his foolishness— tive territory, Myers has picked up that was a Greek concept. Now all the another pen—the writing instrument. fools remain idiots because psychia- His witty and moving short stories, trists merely adjust people to the published in The New Yorker, about his system. Sometimes it's better to be late mother's nursing home experi- radicalized?' Indeed, Myers has so many ences expose a remarkably human side radical feelings about issues and cur- of this comic visualizer. Once a portrait rents, it is difficult to classify his output. painter in the Navy, Myers weds the Only his myriad advertising deadlines talent for realistic depiction with the limit the exercising, or rather exorcis- comic frenzy that governs his cartoons, ing, of his feelings. into a splendid, warm-hearted, descrip- tive prose. In the tradition of James It is certainly ironic that such a strident Thurber, S. J. Perelman, and Alexander critic as he—particularly of the adver- King—writers/artists all—Myers may tising game—gets as many advertising soon be equally as well remembered jobs as he does. But the agencies no for his writing. doubt see Myers' beguilingly funny calligraphy as a convincing sales tool. Today's jesters are not as susceptible to Indeed, is not satire a form of propa- bodily harm or legal interference as in B ganda, and isn't advertising a form of C feudal times. The dwindling market- A, B, C. From The Coward's Almanac, or Yellow satire? For Myers (who did political place is now the major cause for worry Pages, by Marvin Kitman. cartoons for The New Masses in the late in the marketing age—and no clever '30s, and never lost his innate rebel- masking will alter that situation. How- liousness) these assignments afford ever, despite the paucity of outlets, opportunity to expand on already exist- Myers shows us there is plenty of raw ing creations—and perhaps to subtly material to be churned into the satirist's subvert. Often a campaign will require grist, and if one has equal commitment Myers' direct creative input, which is to both art and commentary the word decidedly an enjoyable activity for him. and image will definitely get out.

Poster for La Cage aux folles Horizon

•

Absent and Accounted Mother Jones

HEADLINE' ITC MIXAGE BLACK TEXT/CAPTIONS' BOLD 14

ILESTONETYPOGRAPHIC

It's an old problem: who owns the final some of the most beautiful and techni- product of a joint creative project?_Is it cally accurate books of the 15th century. the person responsible for the initial The Aldine roman, the most popular creative idea? The one who transformed typestyle of its time, and the model for that idea into a reality? Or the person hundreds of other designs, was but one who marketed the product and estab- of his contributions to typography. The lished its value? portable book and italic typefaces are Aldus Manutius faced this prob- both Aldus innovations. Before Aldus all lem with Francesco Griffo da Bologna. books had been the much larger, oral- They were a creative team who together reading, size in the tradition of the scribes produced some of the communications and illuminated manuscripts, and italics industry's most important and influential were used only as a writing style. Few typeface designs. Like too many close have contributed as much or as widely and intensely creative relationships, to enrich our typographic heritage as did however, they also quarreled—and even- Aldus Manutius. tually parted company over the issue of To accomplish his many goals, product ownership. Aldus gathered some of the most crea- The breaking of the affiliation tive and talented members of the Euro- between Griffo and Manutius was not a pean printing and publishing community. casualty of a clash of personalities, but of People like Erasmus, the famous Dutch a rapidly changing commercial environ- philosopher, were commonly drawn to ment. At the time they worked, the typo- his shop. Technicians and laborers were graphic industry was evolving from the recruited with offers of high pay and pioneer age of Gutenberg and Jenson exciting projects. Aldus went to extreme (when one person normally directed lengths to surround himself with the every stage of the type design and pro- brightest and the best. It is therefore a duction process, from initial idea to little odd that he showed very little unprinted piece) to a more regulated and derstanding of, or goodwill toward, structured environment. The organized those who worked so hard for him. and somewhat reliable industry of Gara- Aldus rarely mentioned his co-workers mond and Plantin, when a number of or staff in any of his writing, even recognized and skilled punch cutters though they worked and lived on his supplied the needs of established clien- premises. What little is written is certainly tele, still lay in the future. Aldus and Griffo not laudatory. Once he referred to his fell between these two extremes, and the workers, in the preface to one of his lack of an established work pattern even- books, as his "damned runaway slaves," tually caused their split. and in another piece he complained Aldus was an entrepreneur; and that, "my hired men and workers have his break with Griffo came as a result of ment with a privilege that outlawed all nearly so important, Aldus created the conspired against me in my own house his trying to insure the future of his imitation of his type, he effectively, environment that made Griffo's work ...but with the help of God I smashed company and its assets. The clumsy though perhaps unintentionally, prevented possible, and the conditions that made them that they all thoroughly regret their system of press-privileges popular in Griffo from selling his best and most his typeface designs necessary. treachery" Whether it was with the help 15th century Italy sought only to protect popular designs to other printers. It is no Next to Gutenberg, Aldus was of "God," or that of his principal partner, the interests of the investor, and that wonder that they quarreled. While there perhaps the most important printer of the doge's nephew, it is well recorded always meant the printer or publisher. is no doubt about Griffo's creative genius, the Renaissance and the first of many that Aldus dealt harshly (and with little Aldus was both; so when he tried to and that without his type designs Aldus' great scholar-printers. A successful pub- remorse) with those who stood in his protect his company's substantial invest- ALDUSaccomplishments wouldmANunus not have been lisher and businessman, Aldus produced way. On matters of personal or business BYALLAN HALEY 15

those earlier books from Aldus' small texts: all the previous editions were of a religious or devotional nature. It was felt that prayer was the only occasion which required an individual to carry a book on one's person. The scholar was expected to read from a large book sitting on a lectern. Aldus' originality lay in applying what had previously been a specialized book form-to a new and wider field. Aldus was a marketeer, not a humanitarian. The story has evolved that Aldus created the small book for those who could not previously afford literature. The logic is that his smaller books cost less to produce, and that these reduced costs were passed along to the consumer. Aldus never said that his books were cheap. He said on many occasions that they were beautiful, that they were technically perfect, and that .,yN'TT TVVENALTS ACty:INA they were convenient—but never that T1S SA.TYRA PRImA• they were inexpensive or meant for a mass audience. It has been suggested that Aldus would probably "writhe in his EMPER EGO AVDTTOR grave" if he knew that many printing scholars heralded him as the originator tanturn?nunqutm ne re ponem of the paperback. v exatus tocs rdua thefigde Aldus worked for the wealthy c °chi ? and the successful. His octavos were intended for busy people of affairs; the m punt ergo nuhirentautrit the kind who criss-crossed 15th and 16th trpses? century Europe on the errands of nobility and business of state. Aldus created his It is elegas?pmpune diem confirm pflrisingens small books for the secular intellectuals elephus?aut rummi plena ram margine Itbri of Renaissance Europe: the people who filled the growing number of universities S crsplus,etintrrgonecdamrt finitus,orefirs? to prepare for employment as govern- N otamagrsWillidonutsef1 fut,cram nuhi lung ment officials and public servants. These M anis ,et Lou ir were the people of the "educational uicisu‘mrupibus antrum: revolution" in 16th century Europe. V :da ta • quid apt ucntz,gwas torqueat 107:brdS Even though Aldus' small books A tants , undtaltus fifrbuee dcuehat durum were not intended to expand the knowledge of the masses, it still remains that P cl/i cub e,quantits Sandefur Monychus ornos „ they were a vital development in the • rontanis platani,amustlfaig; marmora clamant emancipation of learning. The "fairy tale" of books for everybody may not be S emper,et afficluo ru ?tee teflon coluInnit true, but the fact of his small books' E xpeeIrs calms 4frim mirsima'q; poets. importance, worth, and influence certainly is. For this alone Aldus could be E t nos ergo manum firulecfiduluximus,et nos remembered and revered. He made C onfilium cleclimus Sylice,piiikttus ut altum reading convenient and learning "user • friendly." He set the precedence for ormiret• flubs: eft clemenna,cum tot ubique personal books of high caliber. And he V a tsbus ocrurras ,pertturx parcerc chartie • created texts which were portable, yet C ur tanun hoc ltheat potuss clecurrere atm po, lacked none of the beauty, or quality, of the larger library editions. Directly tied to the typographic fairy tale of the invention of the portable book is the myth of Aldus' invention'of Aldus' italic (Venice 1501) cut by Francesco Griffo. italic type. The story is told that Aldus paid Griffo to develop a cursive type that interests, it is recorded that Aldus was material was large; the kind meant for would save space in his small books. It is capable of extraordinary insensitivity libraries, bookstands, and reading aloud. said that Aldus' goal was to cut paper and malice. When Aldus began his work, the print- costs and thus make his publications Many historians tell us that ing-industry was less than 50 years old cheaper. Then, as now, paper was expen- Aldus first invented the small book. He and still bound by the traditions of the sive; but saving paper was not Aldus' didn't. Some say that his work with small scribes and manuscripts. Small books, or goal in creating italic type. publications was out of an altruistic drive octavos (made from single sheets folded Early 16th century printers to supply learned text to the masses. three times, each sheet forming eight spoke of "writing" a typeset page as if These people are also wrong. Aldus was leaves, or sixteen pages, of about 6x9 it were a letter to a friend. As this some- not altruistic; he was a shrewd and crea- inches) were published prior to Aldus. As what unusual terminology, by today's tive businessman driven by goals more early as 1470, over 30 years before Aldus' standards, implies, the pragmatic than benevolent. first work, Jenson had printed some • typeface provided There were small books prior small religious texts. There were others, a much closer link to Aldus', but the majority of printed but one very important aspect separates between printer and 16

reader than it does today. Particular styles By others it was called, after Italy, "italic" of type were reserved for particular Where he could, Aldus fought those groups of readers. Aldus was not so who copied his design; some through much trying to save space, as appeal to legal means, others through tough, ag- the educated, worldly and wealthy. gressive business tactics. Aldus italic evolved from a In both he was swift and ruth- popular writing style of the educated. Its less. Unfortunately, he was also for the heritage can be traced back to Niccolo most part, unsuccessful. His italics be- de Niccoli, an Italian scholar of the early came the model for generations of cur- 15th century. De Niccoli started to sive designs. Aldus gave the typographic oblique and add flourish to his letters community one of its most important and beautiful tools—but not entirely when, it is said, "he wished to write in a POLIPHILO INCOMINCIA IL SECONDO LIBR.0 DI faster, more relaxed fashion than usual." willingly. By mid-century other scholars began to LA SVA HYPNEROTOMACHIA . NEL 0,VALE PO , For all Aldus' effort to protect imitate his writing style, and by the late LIA ET LVI DISER.TABONDI , IN QYALE MODO ET his italic font it is interesting that he 1400s italic became the official writing VAR.I0 CAS 0 NAR.R.ANO INTERCALARIAMEN- never sought to protect any of his roman style of the learned and professional TE IL SVO INAMOR.AMENTO. fonts. In fact, from his lack of promoting scribes of southern Italy. In fact, it came the books that he set in these designs, it can be gathered that he cared little for to be called cancellaresca because of the LA DIVA POLIA LA NOBILE ET amount of work done in this hand for NARRA czynn them at all. the city chancelleries. ANTIQVA ORIGINE S VA,ET COMO PER LI NUDE Perhaps this was because, with The cursive style of writing had CESSORI SVI TR.IVISIO FVE EDIFICATO.ET DI QV EL few exceptions, in 15th century Italy been developed by the same scholars LA GENTE LELIA ORIVNDA . ET PER QyALE MO , little work of importance was printed in and learned government officials for roman type. Most scholarly work was set DO DISAVEDVTA ET INS CIA DISCONCIAMENTE in Greek. (Aldus was very proud and whom Aldus created his books. In adapt- SE INAMOR.OE DI LEI IL SVO DILECTO POLIPHILO. ing it to print, he and Griffo were making protective of his Greek type.) their books more comfortable for their He used his roman types sel- intended audience. Today, we would call c EMIE DEBILE VOCE TALE 0 GR.A dom, and only for pieces sponsored by this creative marketing. The important tiofe 8c diue Nymphe abfone peruenera'no & wealthy clients or academic friends. thing is that Aldus took a somewhat Many of his roman types were, as a con- inconcine alla uoltra benigna audietia , quale sequence, considered rather poor in exclusive writing style (almost an art laterrifica raucitate del urinante Efacho al fua , form) and turned it into a typeface—a design. All but one. product that would appeal to, and bene- tic canto dela piangeuole Philomela. Nondi In February of 1496, Aldus pub- fit, a growing and eager audience. meno uolendo io cum tuti gli mei exili co na, lished an otherwise insignificant essay Like any astute business person, ti del intelleeto,& cum la mia paucula fu ffici6 by the Italian scholar, Pietro Bembo. The Aldus was very aware of the potential type used for the text became popular tia di fatifGre alle uoflre piaceuole petitions, instantly and so famous that it influ- value of this product. And in an effort to non rift= al potere.Lequale femota qualaque hefitationc epfepiu che defend his exclusive right to use it, he enced typeface design for generations. sought the first known privileges on an fi co ngruerebbe altro nde,dignamente meritan.o piu uberrimo fluuio di Posterity has come to regard the Bembo entire type style. This was breaking new eloquentia,cumtroppo piu rotunda elegantia &cum piu exornata poli type as Aldus' and Griffo's masterpiece. ground; previously only specific titles tura di pro n fitiato,che in me per alcuno pa6to non fi troua, di e6feguire The design was lighter and were protected, but Aldus had friends in more harmonious in weight than earlier 11 fuo gratiofo afl'eeto.Maauui Celibe Nymphe & adme alquato, quan. romans, making text set in it inviting, and high places. In 1502, the Venetian senate & incomptamete fringulti6te haro in qu alch e portiun' granted his italics official protection. Not niche& co nfufa certainly easier to read. The basic design satisfied, Aldus sought additional, and culagratificato affai. Quando uoluntarofa 8c diuota a gli defii uoflri & was further enhanced by the introduc- what he believed was maximum, secu- po flulato me preflaro piu preflo cum lanimo no mediocre prompt.) hu' tion, three years later, of a font of corre- rity from theft. He even had his types mile parendo,che cum enucleataterfa,& uenuftaeloquentia plac'eclo.La sponding capital letters (the Bembo protected by papal decree. Aldus was ueterrima geneologia,& pro fapia,8c it fatale mio amore roman was initially produced as only a prifca dung ue 8c lowercase font with capitals pulled from one of the best protected publishers and garrulando ordire.Onde giaeffendo nel uottro uenerando conuentu ale type developers of his time, and perhaps other faces). The capitals are not quite as & di for all time. co nfpcdo,8c uedermeoeriIs & ieiuna di eloquio & ad tanto preftSte tall as the ascenders and blend excep- Unfortunately this was to little uo ceto di uui 0 Nymphe fed ule famularie dil accefo cupid ine.Et Iran , tionally well with the lowercase. Bembo avail. Aldus' italics were almost immedi- 8c facro fito,di fincereaure 8c fiorigeri fpirami' to benign° & delefteuole has a more pronounced weight stress ately copied. First by Griffo, who felt that ni affl ato.io acconciamente co mpulfo di afru mere uno uenerabileaufo, than previous romans; it is more even in the design was, after all, his; and later color, and the serifs are lighter and more 8c tramp& timore de dire. Dunqueauanteiituto uenia date, o bellifiv delicate. Aldus' and Griffo's original Bembo by contemporary Italian and French , printers. The Italians called the design me 8c bead ffi me Nymphe a queflo mio blgterare & agli femelli & terri design begins to look like the romans we `Aldino," at least referring to its originator. geni,8c pufilluli Co nati,fi ad uenc che in alch una parte io incautamente use today. This face, which was modestly Page of Hypnerotomacbia Pollphili. Aldus, Venice,1499 ALDUS MANUTIUS 17

enim id fcrutdclum nobis mad° eil.Poft H pietate fucceffir:fcelice hac hxreditate a pan Bembo coniunaus quum geminos genuifret abcdefghijklmnopqrstuvwxyz dicitur abflinuiffe.Ab iflo natus e lacob qt. ABCDEFGH KLMNOPQRSTUVWXYZ prouetum Ifraea etiam appellatus eft duobi 1234567890 (&.,:;!?'""-*Scom/L) uirtutis ufti.iacob eirn athlerd & exercetem Bembo Italic (warn appellations primti prae abcdefghijklmnopqrstuvwxyz pro pietate labores ferebat.Quum &lute iam ABCDEFGHIJKLMNOPQRSTUVWXYZ fpeculationis fruebat'bonis: vac Maelem IF 1234567890 (&.,..,1?'«„_* '¢ oho The Jenson face (1470). Current design based on Aldus' and Griffo's Bembo.

P hillyrides Chiron,A inythdonius'i; melampus. AB CDEFGHIJKLMNOPQRSTUV S uit et»: lueemfly Vs emtirttettebris WXYZ 1234567890 P allidstTifiphone,morbos agrt ante,metum'T, abcdefghij klmnopqrstuvwxyz I ilti; dies entichon fiagens at put dings t AB CDEFGHIJKLMN OPQRSTUV B etlatu rrorwm,etcrebrismuribus amnes, WXYZ 1234567890 A rentriq; jaunt ripe ,colles4; ji Tiflis abcdefghijklmnopqrstuvwxyz I arnici; attrruaton dat itragem,aq; evrdtriplis I n finbglisviirpi dilapfitertebtuera tub°, New design created by Hermann Zapf and named for Aldus.

themselves as those possessed by nobil- shown, it met with great and almost First italic typeface, cut by (intro for Aldus. ity Aldus produced well over 1200 titles instant success. True, its creation was (some still in existence). motivated more by business than altruis- launched in a 60-page favor to a friend, as a successful scholar with a noble If you were to ask Aldus, he tic reasons; but the final product dis- and which became eminently popular in constituency, for one of toil, labor, and would have told you that publishing the placed all previously designed cursives, Italy, soon found its way into France. The the financial uncertainty of establishing a Greek classics was his most important and added an important, valuable tool to design was brought to the attention of printing press and publishing business. accomplishment. Over 90 percent of his typographic communication. Garamond, the famous French type- Little is said of Aldus in history production was devoted to this area. It is As an advocate of education founder, and through his efforts to dupli- books, except those dealing with a spe- even said that in his shop, he made a rule and a catalyst of social improvement, cate it the design eventually spread its cialized field of Venetian or Italian life of that nothing but Greek should be spo- Aldus holds a firm position. Even though influence into Germany, Holland and the the 15th and 16th centuries. Yet it is said ken during the working day in order to his books were not produced as inex- rest of Europe. The Aldine roman was to that without him, or someone like him, more completely create a classical atmo- pensive volumes for the less fortunate become the foundation of new typeface the Renaissance in Italy and Europe sphere. Aldus' contributions to the heri- reader, his decision to enter the printing designs for hundreds of years. would not have been so rapid. It was tage of printing and typography go far and publishing trade, and to give up the Aldus entered printing rather Aldus that put the classics into the hands beyond the publishing of Greek texts. secure and comfortable life of a well- late in life—after age 40. There is much of the new middle class, which had They are both numerous and conspicu- patronized scholar, must have been ar- conjecture among type scholars as to become wealthy and sought the same ous. He was an eminent scholar-printer. rived at out of a goal to bring education why Aldus left a life of comparative ease privileges and cultural opportunities for One of the first, and one of the most and learning to a wider audience. His influential. There were others who were work meant that eventually students more commercially successful, but few would no longer have to rely on manu- that have had the lasting impact of his scripts and libraries of the wealthy for Dolphin Press. His prestige grew almost inspiration and guidance. Because of spontaneously. It survived attacks in his Aldus' work that dependence became a lifetime, and not only survived, but flour- thing of the past. The process of educa- ished, in the four and a half centuries tion became accessible to individuals on since his death. an individual basis. Prior to Aldus, stu- His roman type, which served dents gathered around their "masters" to to inspire the work of Garamond, and listen as manuscripts and large expensive countless other type designers must be books were read aloud. Aldus' legacy is recorded as a milestone in typographic students studying with their own texts achievement. Few typeface designs have or peopling a library, taking advantage of had such a profound and long-lasting vast quantities of books; and ultimately influence on succeeding typeface devel- making individual interpretations on opment efforts. what they read. The Aldine italic, although it is Aldus died in 1515 at the age of fashionable to criticize the design by 65. It is said that when he lay in state current standards, became the model for his prized possessions, his books, were most subsequent italic types. When first grouped around him.

HEADLINE/BYLINE: ITC GARAMOND BOOK CONDENSED WITH LIGHT CONDENSED TEXT/CAPTIONS: ITC GARAMOND LIGHT

Compugraphic's PCS. The Personal Composition System (PCS) ties in to Apple Lisa hardware and software. it is a most complete micro package with a two megabyte memory, comparatively rapid operation, quality typographic features, and a spelling dictionary. It drives ITC's Compugraphic 8000, 8400 and 8600 typesetters as well as CG's EP308 laser printer for which some 700 type fonts are currently available. (See U&lc, Vol. 12, No. 3, p. 22-23.) Technology Itek's PTW. The Personal Typesetting Workstation" (PTW) software teams with an IBM PC-XT or IBM AT for input and composition and a Digitek" typesetter for output. Naturally, it offers the Digitek type library. (See U&lc, Vol. Update 12, No. 3, p. 22-23.) PagePlanner.'" This software merges text and graphics into multi-column page format. With its AdSet" program it can set type around irregular shapes. PC composition systems with text/graphics merging capability, and by Edward M. Gottschall It includes a 30,000 word exception image-setter output devices signal us it's a new ballgame again. dictionary and ties into a line printer or a typesetter and a word processing program. It is becoming increasingly obvious that the major graphic arts suppliers as well as software companies are offering Studio Software's Do It:" Runs an PC-typesetter/printer linkages. A summary of the linkages follows. IBM AT computer and drives a PostScript equipped Apple LaserWriter. It's aimed Code explanation at designers who want to electronically A—Art/Design: facilitates visualization and composing of a full page using actual or simulated typefaces. compose pages. E—Editorial: word processing capability plus such typographic abilities as hyphenation, justification, special coding. Varityper's Maxxr This software can P—Production: input, storage, retrieval, editing as on a full typesetting device or system. drive a Comp-Edit typesetter or can be bought separately to drive a PC. It runs Software Supplier Software Capabilities Typesetters/ Printers PC on IBM PCs which can be obtained from Alphatype/Berthold Multiset- E, P Alphatype CRS 8900, 9900 IBM Varityper. Maxx is a very capable typo- A, P Apple LaserWriter Macintosh graphic program but is not a graphics Aldus PageMaker- program. Varityper also offers the GTO"' Allied Linotype Wordset7 E, P Linotron 101/Linotronic 300 Macintosh (Graphics Text Organizer) which Series 100 merges text and graphics into made-up Series 200 Linotron 202 IBM pages. (See U&lc, Vol. 12, No. 3, p. 22-23.) Bestinfo SuperPage- A, P Most outputs IBM Text/Graphics Composition Sys- Compugraphic PCS- A, E, P Compugraphic 8000, 8400, 8600 typesetters, and tems. While the combination of PCs EP308 laser printer and new software has given text and Horizon G.O. Graphics E, P Compugraphic, Linotype, Varityper typesetters IBM text/graphics composition capability to Itek PTW- E, P Digitek IBM PC-typesetter/printer systems, a number of graphic arts oriented systems (not PagePlanner PagePlanner- A, E, P Linotron 202 IBM PC linked) are offering new or improved Penta Desktop E, P Most typesetters Data General graphic/text merge capabilities. Composition These can be considered in two cate- System"" gories, WYSIWYG and non-WYSIWYG. Studio Software Do It- A, P Most digital typesetters and Apple LaserWriter IBM Leading WYSIWYG front end systems Varityper Maxx- E, P Comp/Edit 6400, 6820 IBM include those offered by American Printing Technologies, Bedford (Vision Note: Some systems, including those using a Macintosh for input, also feature Adobe's PostScript software for enhanced typographic Network System), High Technology capability. Linotron 101 and Linotronic 300 typesetters are tied to Macintosh computers via Adobe's PostScript software and can utilize Aldus Solutions (HTS), Interleaf, Royce Data PageMaker software. Systems, Texet, Varityper, View Tech, Xerox and Xyvision. Enhanced non- WYSIWYG systems have been intro- It is now possible to assemble a low-end and compose pages, often merging text software and outputting to either an duced by CCI, Cybergraphics, Penta, publishing system for under $10,000. It and graphics, and capable of producing Apple LaserWriter or Linotype Linotron and RayPort. Forms systems likewise is also possible to use such a system as a typographic quality when linked to a 101 or Linotronic 300 typesetter. The offered new capabilities recently, nota- front end for high quality output devices suitable output device, have attracted text/graphics merge when output on the bly those from Harris Graphics, Miso- to build systems which, of course, cost attention recently. These are WYSIWYG Linotronic 300 produces high quality mex, and Purup Electronics. Other text/ more-depending on the output quality, (what-you-see-is-what-you-get) devices. type and halftones. Graphics can be cre- graphics merge systems of interest speed, and options that are required. Some of them are: ated on the Macintosh or be scanned include Linotype's Graphics System" in. Allied Linotype's Wordset" links a Four current and compatible innova- Aldus Corporation's PageMaker.- Berthold's Magic System" and Kodak's tions are advancing the state of the art This software designs and produces Linotron 101, 202, or Linotronic 300 to new Keeps;" which is a full electronic as we move into the last half of the pages for office-developed publications. IBM or Macintosh PCs. publishing system and is still in a pre- 1980s: Digitizers that can scan line or It is a low-cost, fast way of assembling Bestinfo's SuperPager Merges digi- marketing stage. Data Recording System's tone graphics into the system, personal pages from stored word processing and tized text and graphics into a page for- LaserScribe 8415 and Tegra's Genesis computers, personal computer-driven graphics for newsletters, data sheets, mat. Working with a Datacopy 700 were reviewed in U&lc, Vol. 12, No. 3. typesetting and composition software, manuals, proposals and presentations. scanner, for example, scanned images Many of these systems can tie in to a and new output devices that merge and It presently works with the Apple can be sized and cropped as well as number of input and output devices. For output text and graphics at both the Macintosh XL" and the Macintosh positioned. At a recent demonstration example, as this is being written Texet low and high ends of the publishing 512K" Output can go to an Apple pages were output on a 300 dpi, Corporation and Wang Laboratories, Inc. spectrum. LaserWriter" or Linotype's Linotronic Hewlett-Packard Laserjet" printer. It announced an agreement under which 300' or Linotron 1017 can also drive the Xerox 2700, and Agfa users of word processing equipment will PC Composition Systems. A number Allied Linotype's Series 100 and P400 printers soon will be able to out- be able to produce professional-quality of composition systems that can com- 200. The 100 series is a system teaming put to the LaserWriter and the Imagen typeset documents, with total integration bine with a PC to electronically design a Macintosh computer with PostScript" printers. - of text and graphics, right in the office. 19

Image Setters. Just as front end sys- library, and can handle rules, logos and Where will all this lead us? Will we have reorder, delete objects. It differs from tems are perfecting their text/graphics special signs (Scangraphic Dr. Boger, 50 one box or one system that does it all? MacPaint in that the latter enables free merge capabilities, so are output devices. Cali Blvd., Woodcliff Lake, NJ). Perhaps for a segment of the market that hand drawing to be created and entered Typesetters are increasingly becoming Standards and Media Conversion is in the offing, but considering the dif- into the system, while MacDraw calls image setters with the ability to output Devices. The full potential for quality ferent output and quality requirements on a palette of graphic shapes. It can cre- text and graphics (sometimes line art, output from low cost, easy-to-operate of various market segments it is more ate documents as large as 8 x 10" and be sometimes fine screen halftones) with desktop systems, or even from the cur- likely that a variety of multifunctional combined with MacWrite:" MacPaint" all elements sized, cropped, positioned rently available high-quality output devices and systems will evolve, and that and MacProject'" and be used with the in a full-page format, and some offer devices depends not only on fine resolu- the traditional graphic arts suppliers Apple LaserWriter" and Image Writer"" plate output. Interesting new or improved tion output and the development of and names new to the printing and pub- printers...The Comp/Edit' 6200 is a output devices include the following, input scanners, input devices with text/ lishing world will be offering their sys- new low-cost digital typesetter. It sets listed by manufacturer. graphics merge software, and image- tems to the different market segments. up to a 46-pica line length, carries up to six fonts on-line, has a point size range Alphatype's CRS 9900 family of typesetter output devices, but on printing So What? How will the new PC-based setters produces text and line graphics. standards for computers and on media of five to 72 points, automatic slanting publishing systems affect users and ven- and condensing of type. Outspeed is It features higher speed than the 8900. conversion devices. Such devices will dors? Users will gain low-cost easy-to- It can condense type down to 25 percent, enable documents created on a variety rated at 200 newspaper 1pm...The Scribe operate, increasingly capable systems Document Production software of Unilogic, expand it up to 375 percent, slant or of computers or input terminals to be for their desktop publishing operations. backslant up to 30 degrees in one-degree printed on different types of output Ltd. now fully supports the Apple While this tends to divert business from LaserWriter. The Scribe runs on a number increments, set right or wrong reading, devices, such as laser printers or type- manufacturers and services of a special- set line measures up to 106 picas. setters, from different manufacturers. of computers and can produce docu- ized nature, it also encourages users to ments on many output devices includ- Apple's new LaserWriter was reviewed The need is for a common language typeset and compose typographic pages among devices at every step of the proc- ing laser printers, photo-composers, in the Computer Graphic Arts report in of documents formerly typewritten and, high-resolution dot-matrix devices and U&lc, Vol. 12, No. 2. Other devices of ess and regardless of manufacturer. although input may be done internally, Addressing this problem is Adobe's letter quality printers. (Unilogic, Ltd., interest include the following: new output work will likely flow to tra- Suite 240 Commerce Court, Four Sta- Can team its Bit Blaster ras- PostScript:" a device-independent page ditional suppliers. That is, at least, a Autologic: description language, and the Interpress" tion Square, Pittsburgh, PA 15219-1119) ter image processor (rip), APPS-1 pagina- likely near-future scenario. For the Autokon'" 2000 is a laser page-description language developed by ...ECRM's tion system and RayComp" terminal to moment, the speed, page size limitation, input scanner. It interfaces with many Xerox Corporation, as well as a number and coarse resolution of many output pre-press systems. A screen menu offers feed text, graphics and composition of media conversion devices. instructions to its typesetters. devices put them in a different market a choice of enhancements to be per- Interpress. Interpress can be used to than that serviced by graphic arts qual- Autologic's new Page Image Proces- formed during scanning, including interface almost any type of document ity typesetters and commercial printers. image sharpening, proportionate and sors, the APS-55/200,300,400,500 and Yet, by moving the typewritten docu- 800 APS-6 CRT and APS-6 Laser Ima- creation device with virtually any type anamorphic sizing, independent of document printing device. It is specif- ment into the typographic world, a enhancing of midtone, highlight and gers divorce page building from output much broader base of personnel is recording. The APS-55 line processes ically designed to support faster page- shadow areas. It also has polarization, print engines including those handling becoming aware of typography's ability solarization, tint laying, and dropout text and graphics into page form. The to compact information to effect produc- 800 can build a newspaper page in as high resolution text and graphics. It has capabilities. It has 14 special effects commands for describing text, graphics tion economies while making docu- screens and halftone screens ranging little as a minute. The APS-6 units ments more attractive, more readable, record the page onto film or paper. The and pictures, as well as commands for from 55 to 144 lines per inch, and can APS-55 can feed a variety of output creating various shapes, and rotating more effective. scan at selectable resolutions from 200 devices, including platemakers. Fonts and scaling them. It can handle multiple Also Important. Xerox Corp. intro- to 2,000 lines per inch. In addition there fonts, line and shaded graphics, half- are resident in the Page Image Proces- duced two laser printers. The 4045 are other Autokon models as well as sors which can accept input from per- tones and continuous tone images as Laser PC accommodates four PCs, prints Compugraphic's Scanner 2000 and scan- sonal computers, composition systems well as instructions about the page ten pages per minute at 300 DPI. Can ners from Imagetex, Xenotron's Art- image and the assembling and finishing work with a variety of PCs and printer Master and scanners from Datacopy, all or data processing systems. The laser of a document. It is also suited to com- printer output resolution is 300 x 300 networks. It can take fonts from host of which feed a variety of typesetters. mercial printing applications and can computers. The 3700 is a higher speed, ThunderScan'" is a complete system that dots per inch. The Page Image Processor, create signatures for folding and binding. when feeding a fine resolution printer, higher volume printer for distributed can digitize art for a Macintosh system. As of now 19 companies have said they data processing systems and outputs 24 It can electronically enlarge, reduce, can process up to 2000 x 2000 dpi. APS- will use the Interpress page-description 5 and APS-Micro 5 digital typesetters pages per minute. The 3700 can inter- cut, copy, paste, edit, gray, enhance, language as a common electronic print- face to asynchronous and bisynchron- and more. The original is rolled into can also output graphics that have been ing standard for computers. scanned into the system. ous systems. It has a library of several an Imagewriter augmented with ThunderScan, to produce a high-resolu- The 8600 Imagesetter Multifunctionalism. Just a few years hundred bitmaps and can print up to Compugraphic: ago we were surrounded by devices ded- 16 different typefaces on a single page tion MacPaint document. can output halftones and line art as well icated to a single function, such as word as well as handling digitized custom as type. processors, typesetters, data processors fonts, company logos, letterheads and Edward Gottschall is Executive Vice Hewlett -Packard: The Laserjet" is a platemakers and printing presses. We signatures...IBM is offering the 4201 President of International Typeface low-cost printer. It uses no chemicals, is are now moving into the era of the multi- Proprinter" a low-end serial dot matrix Corporation (ITC) and Editor of its easy to operate. As with most other low- purpose device. The dedicated data printer designed to operate with IBM publication, U&lc. cost laser printers, it can merge text and processing computer, for example, PCs and IBM compatible machines. The graphics, but with a limited number of became a general computer, much like Proprinter is directly competitive with fonts, and its output quality (300 dpi) the LP record player in your hi-fi system Japanese dot matrix printers now on the while satisfactory for many purposes is that will play whatever record you put market. It can handle down-loadable not comparable to that of more expen- on it. The "record" for the computer is, fonts although only a sans serif font is sive, finer resolution printers or of course, the software disc. Put in word resident. It generates NLQ (near letter typesetters. processing software, presto, you have quality) text on a single strike by jogging Linotype: At the high quality output a word processor. Put in spreadsheet the paper for a second pass so that the end of the spectrum one must include software and you have a computer for white spaces between the dots are hit on the Linotronic 300. A mid-priced type- an accountant or a bookkeeper. And the second pass...Matchmark" is a per- setter, it is capable of high quality half- so forth; so we have a multi-use com- sonal computer system to integrate tone as well as line copy and typographic puter. Now we have Lotus Symphony" design, layout, word processing, typog- output. It handles tints or patterns and (IBM PC oriented) and Lotus Jazz" raphy, and communication functions in can be driven by a number of input (Macintosh oriented). This is multi-use a software/hardware package that small devices including a PostScript supported software. It is five-function software and medium size design groups can Macintosh. including spreadsheet, word-processing, afford. (Matchmark, William J. Kircher made by Scangraphic Dr. database, graphics, and communications & Associates, Inc., 1101 14th Street, NW, Scantext, Consistent and non-intimidating commands. Boger, is being marketed in the United ability all in one program. Each function Suite 700, Washington, DC 20005)... Easy-to-use operator interfaces make the Kodak States. About 550 systems and 3,000 can be used separately or in any combi- MacDraw'" is new software from Apple Ektaprint electronic publishing system (KEEPS) workstations have been installed in nation. In output devices, too, multi- Computer. For the Macintosh PC it easy to master. Most operations are invoked by use Europe. Scantext 1000 is described as a functionalism is the order of the day as offers the business user many powerful of a three-button mouse, screen icons, and pop- up menus, rather than special commands or mul- low-end system that shows real fonts in the typesetter becomes an image setter, and easy-to-use features. It can be used tiple function keys. With the mouse, an operator actual size and position on its display. and a laser printer absorbs the functions to create presentations, charts, technical simply points to an icon which pictures a desired This WYSIWYG system has an input of a platemaker, typesetter, page makeup diagrams, maps, graphics, illustrations, function, such as a cabinet for filing, or a mail- terminal, a CRT typesetter, a large font device, and multi-copy printer. rotate text, resize elements, reshape, box to send files to others on the KEEPS network.

HEADLINE/BYLINE: ITC MIXAGE MEDIUM SUBHEAD: BLACK CHART: BOOK WITH BLACK TEXT/CAPTION: ITC ESPRIT BOOK WITH BLACK

■ Department of weird, wonderful and useless information MIN

Hefty hamburgers. Contrary to popular belief, hamburgers did not originate in Hamburg, Germany. The town of Hamburg, New York, claims credit for the invention and recently celebrated the 100th anniversary of the event by producing a 325-lb. specimen. Actually, as hamburgers go, that was not the most profound statement ever made. In March, 1975, a 440-lb. hamburger was concocted in Blackpool, England. It measured 14 ft. in diameter. Still, it was a midget compared with the 4,411-lb. whopper cooked up in Brussels, Belgium, in March,1983. After grilling, it was carved up into 7,440 portions.

Conspicuous consumption. Guess who consumes the most calories per diem. An international survey revealed that Belgians, who net an average of 3,645 calories per person, per day, are among the highest. This comes as no surprise to anyone who has ever been exposed to Belgian chocolates, beer; beef and cooked-in-butter temptations, not to mention their national fast-food treat: a scoop of French fries doused with mayonnaise!

An economical omelet. Company coming? Short of cash? You can throw a generous omelet party for 24 guests, using only one egg—provided it's an ostrich egg. Of all the birds known today, the ostrich lays the largest egg. It measures 6 to 8 inches in length, 4 to 6 inches in diameter, and weighs, on the average, 3.7 lbs. Hearty appetite.

HEADLINE' ITC CUSHING MEDIUM WITH BOOK BRACKETS TEXT, FRIZ QUADRATA WITH BOLD, ITC WEIDEMANN BOOK WITH BOLD, ITC LEAWOOD MEDIUM WITH BLACK 21

A Bedouin banquet. At a traditional Bedouin wedding feast everything h . III ,1 lAtitti'l: "ItiliAtW`i and everybody gets stuffed! The ' t1111 Ili it 0' t1 meal consists or cooked eggs

( 41 il"L \A 'Y(3V stuffed into cooked fish, which are IV.' IIIIIIL 01, P t6 ,0 111 .if* , N,k stuffed into cooked chickens, which ( 4ti' ,0 . ,A1 141/(ittRitt" ::1(1(6 VI( are stuffed into a roasted sheep—all 01 1 1 i lilL l ' finally stuffed into a whole camel \,, ; ; 1 ,i ,t, , i 5'■ 11 ititti . 1' ! 1,i 11/ t \,,,v. !.s,b7 . ''It1(11w7 // and barbecued! Hearty appetite. \‘)

Ice cream extravaganzas. Theo outrageous concepts were brought to fruition in the United States recently. During the Vermont Maple Festival in April, 1983, the town of St. Albans constructed a gigantic ice cream sundae. It consisted of 20,421 lbs. of ice cream, 300 lbs. each of whipped cream, strawberries, cherries, chocolate syrup and chocolate chips, 1,381 lbs. of maple syrup,100 lbs. each of pistachios, walnuts and peanuts, 1,500 lbs. of peaches and 2,000 lbs. of pine- apple. The total weight was 27,102 lbs. and it stood 11 feet, 9 inches tall, including its bed of ice. For extravaganza number two, see below.

One month later, in the town of Millburn, New Jersey, the Junior Class of Millburn High School took credit for assembling the longest-ever banana split. The ingredients included: 15,912 bananas, 950 gallons of ice cream, 919 lbs. of chocolate syrup, 297 gallons of whipped topping, 276 lbs. of nuts and 8,910 cherries. The entire concoction, measured end4o-end, stretched for 1.6 miles—a lot of ice cream in any country. Marion Muller

TEXT: ITC MIXAGE BOOK WITH BOLD, ITC VELJOVIC BOOK WITH BOLD, ITC USHERWOOD BOOK WITH BOLD ILLUSTRATIONS BY WALLY NEIBART 22

A TY -)OGRA ICGT os

Lightface Oldstyle Figures A lighter version of a standard weight of Numerals that vary in size, some having the typeface. ascenders, and others descenders. These numbers normally correspond to Line Space lowercase proportions. White space between lines of composition. Formerly referred to as "leading: oldstyle 1234567890 Lining Figures Numerals the same height as the capi- Outline Characters tals in any given typeface: 1, 2, 3,4,5,6, Open characters made from solid ones 7, 8,9,0. Lining figures align on the by putting a line on the outside edge of baseline. a letter. Phototypesetting LINING 1234 Also known as photocomposition and, Link erroneously, as cold type. The prepara- The stroke connecting the top and tion of manuscript for printing, by pro-. bottom of a lowercase "g." jection of images of type characters onto photosensitive film or paper. Loop The lower portion of the lowercase Pica roman "g." A measure of type equal to 12 points or approximately 1/6 of an inch. Derived Lowercase from an old term for metal type of that Small letters. The term is derived from size. hand composition of metal type. When type was set by hand, two cases were used to hold the individual pieces of metal type, with one case arranged 6 picas higher than the other. The capitals were Pi Characters kept in the "upper case" and the small Characters contained in a font that are letters in the "lower case: not specifically typestyle oriented. Margins Usually reference marks. The unprinted areas around type and/ Piece Fractions or illustrative matter on a page: the top, These come in three styles. Adaptable, bottom and sides. which are made up of three separate Markup characters: two large (text-size) numer- In typesetting, to mark type specifica- als separated by a slash (3/4). Case, tions on the layout and copy for the which are small-numbered fractions typesetter. available as a single character (3/4). Piece, which are small-numbered frac- Measure tions made up of three or more ele- The length or width of line to which ments: nominator, slash or separating type is set. rule, and the denominator. Mechanical Point Camera-ready pasted-up assembly of Basic increment of typographic mea- all type and design elements mounted surement, equal to 0.0138 inch.livelve in exact position and containing instruc points equal a pica. tions, either in the margins or on an overlay, for the printer. Point System The sizes of type cast by type founders Minus Letterspacing are graduated on a uniform scale known as the point system.The unit of The reduction of the normal space the system is a division of space called a allocated between characters. Not possible with handset metal type. point (.0138). Each size is described by its number of points, which refers to the height of the body on which it is cast. minus Calculations are simplified ordinarily by minus assuming the point as 1/72 of an inch. Mixing Quad (verb) The combining of more than one style lb space out the blank portion of a line of typeface or point size in a word, line to its full measure. Quad left (flush left) Justified Composition or block of copy. Leading would require spacing out an incom- Lines of type that are flush at both the See Line Space. left and right edges. Modern plete line from the last character to the Leg Term used to describe a typestyle devel- right-hand margin so that interword spaces remain consistent, and the left Kern The bottom diagonal on the uppercase oped in late 18th century. side of the text always starts at the left lb space two letters closer together than and lowercase "k." customary in order to create visually Mutton margin of the measure. Quad right consistent spacing between all letters. Letterspacing Antiquated typesetting slang for an em means the opposite. Quad center would Adding space between individual space. mean centering the line and adding Layout letters in a line. equal space on the left and right to Preliminary plan of the basic elements Nut complete the measure. In metal typeset- of a design shown in their proper Ligature Antiquated typesetting slang for an en ting, quadding is done by inserting less positions. 11,vo or more characters linked together space. than type-high metal to fill out a line. as a single element. The term is still used in phototypeset- Leaders Old Style ting by those familiar with metal type- Row of dots, periods, hyphens, or dashes lbrm used to describe a typestyle devel- setting terminology. Most people today used to lead the eye across the page. Lea- oped in the early 17th century. simply say "flush left," "flush right," ders are specified as 2, 3, or 4 to the em. ff fi ffi CA "centered." 23 sARy BY AT iT JAN AT ,IHY

Ragged (Unjustified) Superscript The setting of text type with an irregu- A small symbol, numeral or letter that lar appearance on either one or both prints above the x-height and to the margins, such as ragged right or ragged side of another character, as in 3 4. Also left. In ragged setting, interword spaces called superior letter or figure, particu- are not varied for justification.•Ragged larly when used to refer to a citation setting is the opposite of flush setting in source. which even margins are achieved on both sides of the text. Swash Letters Characters with fancy flourishes Roman replacing a terminal or serif. Name often applied to the Latin alphabet as it is used in English and Euro- pean languages. Also used to identify upright, as opposed to italic or cursive, Tail alphabet designs. The part of a "Q" which makes it look different than an "0," or the diagonal Roman Numerals stroke of the "R." Roman letters used as numerals until the tenth century A.D.: l=1, V= 5, X=10, Terminal L=50,C=100,D= 500, and M=1,000. The end of a stroke not terminated with a serif. Rule A typographic element in the form of a Text line; used for a variety of typographic The body copy in a book or on a page, as purposes. distinct from the headings. Runaround Text Type Type set to fit around an illustration, Main body type, usually smaller in size box or irregular shape. than 14 point. Running Head Thin Space A book title or chapter head repeated at Usually one-fourth to one-fifth of an em the top of every page in a book. space. Sans Serif Transfer Type Typestyles without serifs. Type, carried on sheets, that can be transferred to a working surface by Script cutting out self-adhesive letterforms Type designed to suggest handwriting (cut-out lettering), or by burnishing or writing with a brush. (pressure-sensitive lettering). Serif Transitional A line crossing the main strokes of a A typestyle that combines features of character. There are many varieties. both Old Style and Modern; Baskerville, for example. Shoulder The curved stroke of the "h," "m," and "n: Type The letters of the alphabet and all the Small Caps other characters used singly or collec- Letters the approximate size of lower- tively, to create words, sentences, blocks case x-height characters, but in the of text, etc. design of the capitals. Normally available in text typeface designs only. Typeface One of the variations or styles in a type- Spine face family, such as roman, italic, bold, The main curved stroke of a lowercase ultra, condensed, expanded, outline, or capital "S." contour, etc.

Spur Type Family A small projection off a main stroke; A range of typeface designs that are all found on many capital "G"s. variations of one basic style of alphabet. The usual components of a type family Stem are roman, italic, and bold. These A straight vertical stroke (or main can also include variations in width straight diagonal stroke in a letter (condensed or extended) and in weight which has no vertical strokes). (light to extra bold). Some families have Unit Value Widow many versions. The fixed unit width assigned to either The end of a paragraph or of a column Stet side of individual characters. of reading matter that is undesirably Proofreaders' mark indicating copy short; a single, short word; or the end of marked for correction should stand as it Uppercase a hyphenated word, such as "ing." was before the correction was marked. BBB B Capitals; see Lowercase. "U. & L.C." Wrong Font (W.F.) Stress Weight A type character set in a face, style or The direction of thickening in a curved Also written u/lc. Commonly used abbreviation for upper and lower case. This term refers to the relationship size other than that specified. stroke. between a letter's solid strokes and its Unit open counters. A letter is said to be x-Height Stroke A fraction of an em. In an 18-unit sys- "lightweight" if the strokes are thin; The height of lowercase characters A straight or curved line. tem, for example, the em is divided into "heavyweight" if thick. excluding ascenders and descenders. 18 equal units of width. Many photo- Subscript White Space Reduction A small symbol, numeral or letter that typesetting machines have 36-unit, 54-unit and even finer unit values. The The reducing of space allocated to the axce prints below or below and to the side of characters. another character, as in H 20. Also called more units to the em, the more latitude inferior letter or figure. the type designer has in assigning character widths. HEADLINE . ITC AMERICAN TYPEWRITER LIGHT SUBHEAD: ITC TIFFANY HEAVY TEXT: ITC BOOKMAN LIGHT WITH DEMI Q, G: ITC BOOKMAN CONTOUR 24

A call for entries. Le concours.

will leave your country and be properly This is the second in a series of Herb Photographic entries should be shot Droits d'inscription : Lubalin International Student Design against a black background. received in the United States. The phrase [Want. Competitions to be sponsored by Copy: "Material for Contest. No Commercial International Typeface Corporation, to Value." on the package normally will Format : honor and perpetuate the memory of The following statement must appear in expedite it through customs. each piece submitted.The copy may be Le format et la presentation sont au Herb Lubalin, internationally famed choix du participant : annonce, bro- graphic designer, a founder and principal set in English or a language of the designer's choice. chure, affiche, agenda, sculpture ou of ITC, editor of U&lc, teacher, and con- tout autre objet tri-dimensionnel, peu cerned citizen of the world. Stop! I want to think about that. importe, des ('instant oil le texte im- The theme of this competition is "We (printers) have three great privileges Francais pose y figure. Les dimensions supe- printing and its three great privileges as which the spoken word cannot offer rieures a 90 x 120 cm, les poids supe- expressed by Beatrice Warde, the even now when it has the use of its own rieurs a 7 kilos sont exclus. Mais on scholarly advocate of fine printing and vast multiplication process. We have the peut envoyer des reproductions sous typography, on behalf of the Monotype privilege of turning back from the page forme de diapositives ou de photos en Voici le second concours dans la serie Corporation Limited. on which we have found something couleurs de bonne qualite. Tous les Herb Lubalin International Student debatable, in order to find and reread textes doivent absolument etre com- Who can enter? Design Competitions organisee par that point where the argument started... poses en caracteres ITC. Seront egale- International Typeface Corporation en Undergraduate, graduate or special And we can turn forward to the end, or ment accepter les textes calligraphies hommage a Herb Lubalin dont elle students of bona fide art or graphic far enough ahead to see what conclusion ou dessines. Pour les photos, un fond veut perpetuer le souvenir : parce qu'il design schools or departments any place the fellow is driving toward...And the noir s'impose. in the world. third privilege is that of stopping short at etait un graphite celebre dans le monde ender; parce qu'il etait le fonda- Theme impose : THE JURY: any word or statement that seems to call for meditation, verification, or resort to teur et le doyen de ITC; l'editeur de Le texte suivant dolt figurer dans chaque STUART ASH the dictionary. Printing is on the side of U6t1c; un enseignant exemplaire et un envoi. II peut etre compose en anglais IVAN CHERMAYEFF the people who still have the courage to citoyen responsable de la Planete Terre. ou en toute autre langue au choix. say 'Stop, I want to think about that..." COLIN FORBES Le theme de ce concours est l'impri- Attendez! Je veux y reflechir. (Beatrice Warde) merie et ses trois avantages princi- "Nous (les imprimeurs) nous avons sur APRIL GREIMAN paux tels qu'ils ont ete decrits par Artist/designer releases: la langue parlee trois avantages qu'elle GEORGE TSCHERNY Beatrice Warde qui a defendu et All artwork submitted to this competi- n' pas, meme aujourd'hui, en Wit de illustre la cause de la typographie avec PRIZES: tous les moyens de diffusion existants. tion cannot be returned. Students should tant de chaleur et d'erudition au nom FIRST PRIZE, Nous pouvons retourner a la page oil make copies of their entries if they want de la Monotype Corporation Ltd. THE HERB LUBALIN MEDAL a record of them. By submitting work, nous avons vu quelque chose de Gui peut participer? AND $5,000. you are granting permission for ITC to discutable, pour retrouver et relire le use the art for publication in U&lc and passage oil nous avons bronche. Nous SECOND PRIZE, $2,500. Les etudiants, diplOmes ou non, et les for publicity for the exhibition. The boursiers inscrits aupres d'une ecole pouvons aussi aller voir a la fin, ou EIGHT PRIZES OF $500 EACH. designer/artist will receive proper credit d'art ou dans la section graphique d'une assez loin pour voir ou l'auteur veut en Certificates will be issued for all pieces for any piece that is reproduced. kale n'importe ota dans le monde. venir...Le troisieme avantage, c'est que nous pouvons nous arreter a chaqUe selected for inclusion in the exhibition Deadline for entries: LE JURY: which will be held in the ITC Center in mot, a chaque phrase qui demande All entries must be received by May 12, STUART ASH reflexion, examen ou verification dans New York, in the Fall of 1986. A selection 1986. of the winning pieces will be featured in IVAN CHERMAYEFF un dictionnaire. Limprimerie est au a special issue of U&Ic. Entry form: service de tous ceux qui ont encore le COLIN FORBES courage de dire : 'Attendez! Je veux y School certification: Please make copies of the entry form and attach one securely to each entry, APRIL GREIMAN reflechir..: " Each entrant must submit a note from (Beatrice Warde) preferably on the back or in a margin GEORGE TSCHERNY the school on the school's letterhead safely away from the design. If the entry Les droits : certifying that the entrant is a student. is a slide or a small piece or a sculpture, LES PRIX : Aucune illustration soumise dans le Entry/hanging fees: print your name and a key number on LE PREMIER PRIX CONSISTE EN the frame or the back or under the base LA MEDAILLE HERB LUBALIN, cadre de ce concours ne pourra etre None. retournee. Les etudiants devraient and key it by number to an entry form. PLUS $5,000. Format: faire des copies des illustrations qu'ils Where to send your entry: LE DEUXIEME PRIX, $2,500. soumettent s'ils desirent les conserver. Format is at the artist's/designer's En soumettant votre travail, vous don- choice—an advertisement, booklet, ITC Center, 2 Hammarskjold Plaza, New VIENNENT ENSUITE HUIT PRIX nez a ITC la permission de publier les poster, blotter, game, sculpture, three York, New York 10017 USA DE $ 500 CHACUN. illustrations dans l'Ubdc et de les utili- dimensional piece or color slides or Mailing/shipping: Des attestations seront donnees pour ser pour faire la publicite de l'expo- reproduction quality photographic prints Costs to be borne by entrant. Please use tous les envois qui auront ete retenus sition.Toute piece reproduite of them—all are acceptable so long as protective mailers to ensure that artwork pour ('exposition qui se tiendra au ITC cornportera mention du nom du the mandatory copy is included. Entries does not arrive damaged. All entries Center a New York en automne 1986. dessinateur et/ou de ('artiste. larger than 3' x 4' or heavier than 15 lbs. must be able to withstand handling by Ils seront egalement publies dans un are not acceptable but color slides or exhibit personnel, jurors, and press numero special de U&Ic. Delais : photographic prints of them will be photographers. Garantie : Tous les envois doivent nous parvenir accepted, as will VHS format video and pour le 12 mai 1986. 16mm film. All typeset reading matter Postage/customs requirements: Tout envoi dolt etre accompagne dune must be set in an ITC typeface. Please be sure the postage is adequate attestation ecrite a l'en-tete de Bulletin d'inscription : Calligraphic or handlettered reading and that your package has the proper l'etablissement ota l'etudiant poursuit Veuillez faire autant de copies du bulle- matter will also be accepted. customs information and forms so that it ses etudes. tin d'inscription qu'il y a de travaux

HEADLINES/SUBHEADS: ITC FRANKLIN GOTHIC DEMI TEXT: ITC CHELTENHAM BOOK WITH BOLD, ITC SYMBOL BOOK WITH BOLD, ITC CLEARFACE REGULAR WITH HEAVY ENTRY FORM: ITC FRANKLIN GOTHIC BOOK 25

Einladung zum Wettbewerb.

"Halt! Ich mochte dariiber nachdenken:' 0

Attach at this edge only. Nur an dieser Seite befestigen. que vous voulez nous faire parvenir. bis zu seinem Ende oder weit genug A fixer de ce cote seulement Fixez-en une de preference au dos de IVAN CHERMAYEFF voraus, um festzustellen, was der Schreiber chaque envoi, ou bien en marge du COLIN FORBES im Sinn hat...Und der dritte Vorteil ist projet. S'il s'agit d'une diapositive, d'un der, daB wir bei jeglichen Worten oder APRIL GREIMAN objet de petite dimension ou d'une Behauptungen verweilen konnen, die zum s. GEORGE TSCHERNY Nachdenken anzuregen scheinen, die Be- orp sculpture, imprimez votre nom et un c de numero de code sur l'encadrement, au PREISE: statigung btnotigen oder die man in einem dos ou sur le socle, et ajoutez le nu- Lexikon nachschlagen mochte. Das ge- rce

ERSTER PREIS IST fo mero de code a votre nom sur le bulle- druckte Wort kommt jenen Menschen DIE HERB-LUBALIN-MEDALLIE ou tin d'inscription. zugute, die noch immer den Mut haben UND $5000. auszurufen: Halt, ich mochte darither ions

Adresse :

ZWEITER PREIS $2500. nachdenken." ie ITC Center, 2 Hammarskjold Plaza, NY, (Beatrice Warde) imens / D ACHT PREISE VON JE $500. imer r NY 10017 USA. e

Freigabe durch den Kfinstler: Oss

Far jede Arbeit, die fur die Ausstellung im 'imp r

Expedition : r ftg ITC-Center in New York im Herbst 1986 Alle fur diesen Wettbewerb vorgelegten i hr eres Les frais de port sont a charge des par- auserwahlt worden ist, wird eine Urkunde kunstlerischen Entwiirfe konnen nicht t fesseu ticipants. Veillez au conditionnement ausgestellt. Aul3erdem wird eine Auswahl zuruckgesandt werden. Wer einen Nachweis / Sc Pro carac ! afin que vos envois nous arrivent en von angenommenen Arbeiten in einer daftir braucht, sollte eine Kopie davon Size en bon etat. Tout envoi quel qu'il soit dolt Sonderausgabe von U&lc veroffentlicht sor anfertigen. Durch die Vorlage Ihrer Arbeit ire pourvoir resister aux manipulations du werden. fes

geben Sie ITC die Erlaubnis, die ki.instleri- ecr Pro a jury, du personnel d'exposition et des / Beglaubigung der Schule: schen Werke in U&Ic zu veroffentlichen und ou photographer de presse. tor e r zur Werbung fur die Ausstellung zu benutz- a3 c „ .

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lar konnen. iling

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ma Bitte darauf achten, daB die Einsendungen hme beschrieb. teile, die das gesprochene Wort nicht zu z te te le ilna bieten vermag, selbst heute, wo es seinen mit genugend Porto und den erforder- C le Co Wer kann teilnehmen? Te mp mp eigenen riesigen VerbreitungsprozeB zur lichen Zollformularen versehen sind, damit hransta TC / C I co co sowohl beim Versand als auch beim Ein- rm Studenten an Kunstschulen oder Hoch- Verfugung hat. Wir haben den Vorteil, daB 's 's l l / Le t

Fo 0 n schulen mit Abteilungen fur grafische wir von der Seite, auf der wir etwas Debat- treffen in den USA keine Schwierigkeiten face: e hoo hoo tra try Gestaltung in der ganzen Welt. entstehen. Die Aufschrift "Material for p Sc Ty tierbares gefunden haben, zuriick blattern Sc En Contest. No Commercial Value" ist normaler- En DIE JURY: konnen, urn den Punkt zu finden und erneut zu lesen, an dem das Argument weise far die Erfordernisse der hiesigen STUART ASH begann...Und wir konnen weiter blattern Zollbehorden ausreichend. 26 FAMILIES TO REMEMBER

HE BRUEGELS

Instead, he concentrated on one of the here-and- now problems of Flemish life. His country was desperately fighting off political and spiritual domination by Spain and the Catholic Church. Though Pieter Bruegel, the Elder, was not a blatantly religious painter, his works were preachy and moralizing in their own inimitable way. Instead of portraits of holy families and saints, he painted peasants. Instead of fantasies of heaven and hell, he painted country landscapes...the seasons...peasants at work and peasants at play. It earned him the nickname, "Peasant Bruegel." But what Bruegel meant to express in his pastoral scenes was his deep conviction that God was at work in nature and in man...and that

Artist's rendition of a Pieter (the Elder) Bruegel engraving . God, nature and man were one. Every creative person walks a tightrope. With every new project comes the Pieter's eldest son, Pieter, the Younger, was known same old challenge: how to maintain a successful posture without falling into the trap of repeating yourself. Who doesn't have a few tried-and-true (slightly as Pieter "Hell" Bruegel. He lived from 1564 to 1637. used) campaign ideas tucked away? Who isn't tempted to fall back on the same sure-shot photographer?...the hot illustrator?...the few agreeable He first learned to paint alongside his father, and he, typefaces that seem to work well for every occasion? It makes life easy. too, became a member of the Antwerp Academy. In the matter of typography, which is something we know a thing or two about at ITC, there seem to be a few typefaces that are inordinately popular. Unlike his father, his religiosity was undisguised. He They so valiantly satisfy the needs and sensibilities of designers, you may painted such fierce, diabolical versions of hell, with wonder why we bother to offer such a vast variety of others. The reason is: to keep life from becoming too easy...too routine—too deadly. ghostly figures and raging fires, that he went down To be sure, typeface families, like human families, have their old "gran- in history with the middle name,"Hell." dees." Names like Medici, Hapsburg, Windsor, Romanov, Astor, Vanderbilt, Ford, Rockefeller, Rothschild, roll off our tongues. But there are many grand A second son, Jan "Velvet" Bruegel (c.1568-1625) old families, in both categories, whose names may not come to mind imme- was born just a few months before the death of his diately, yet are nevertheless uncommonly interesting and worthy. To refresh your memory and, we hope, your creative appetite, the next few father. Jan was brought up by his grandmother, who issues of U&Ic will present some of these notable families—both genealogic was the widow of the miniaturist Pieter Coecke. It is and typographic—that are deserving of your renewed attention. believed that she may have given him his first les- According to the record books, there were no fewer sons in painting, but he eventually went to Antwerp than twelve painters in this distinguished Flemish also, to study, and then to Italy. He was fortunate family. Without doubt, the best known of them is to find a patron in Italy, and later served as court Pieter Bruegel, the Elder, who lived from 1525 to painter to the Archduke of Austria. When he returned about 1569. By the time he was 26, he was admitted home, he became a friend and assistant to Peter to membership in the Antwerp Academy. As was Paul Rubens. "Velvet" Bruegel was much in demand expected of any painter worth his salt in those days, by Rubens and other figure painters for his skill in he also made the mandatory trip to Italy to study providing landscape backgrounds for their canvases. the great Renaissance masters. Although he was He was particularly ingenious in his handling of deeply affected by what he saw, he did not go home intricate animal, flower, shell, fruit and jewel forms. and mimic the Italians' grandiose biblical and myth- A grandson of Jan "Velvet" Bruegel, named Abra- ological themes in Roman architectural settings. ham, was born in Antwerp in 1631, but early on took 27

AND ITC NOVARESE

ITC Novarese® was the first ITC typeface designed by the distinguished Italian type designer, Aldo Novarese. Originally drawn for Haas'sche Schriftgiesserei AG of Switzerland, ITC Novarese was licensed by ITC and released in 1979. As a classic roman, ITC Novarese blends the design traits of several earlier typefaces with currently popular character proportions. The x-height is ample in the interest of legibility, and the descenders somewhat abbreviated for economy of space; contrast between thick and thin strokes is obvious but not extreme, giving text composition sparkle without loss of readability. To maintain classic character proportions, Aldo Novarese has used a traditional but not common design trait. He drew the lowercase ascenders just slightly taller than the capitals. The modified proportions of these six characters bring elegance and refinement to a typeface of ulti- mate practicality. Small capitals and oldstyle figures have been drawn for the Book and Medium weights. These were created to give versatility and the capability for perfect color in text composition. Unusual by current standards, but in keeping with the first italics drawn in the 16th century, ITC Novarese has upright capitals to accompany the chancery lowercase. The net result is a sense of drama and dynamics in italic copy without loss of compatibility with the roman designs. Few typefaces combine the qualities of strength, clarity, dynamics and elegance so well as does ITC Novarese.

off for Italy to pursue his painting career there. He worked under the patronage of Prince Antonio di Messina, and was known to have been in Rome from 1660 to 1671, judging from paintings found there. Eventually he settled in Naples where he founded his own school. All in all, descendants of the Bruegel family continued to paint in Italy and Flanders well into the 18th century. The later generations established a reputation for their skill in flower painting.

HEADLINE: ITC NOVARESE MEDIUM TEXT BOOK. BOLD ILLUSTRATIONS BY JOE CIARDIELLO 28 TC NOS

BOOK MEDIUM

According to the record books, there were no fewer th According to the record books, there were no fewer an twelve painters in this distinguished Flemish fami than twelve painters in this distinguished Flemish f ly. Without doubt, the best known of them is Pieter Br amily. Without doubt, the best known of them is Pie uegel, the Elder, who lived from 1525 to about 1569. B ter Bruegel, the Elder, who lived from 1525 to about y the time he was 26, he was admitted to membershi 1569. By the time he was 26, he was admitted to me p in the Antwerp Academy. As was expected of any p mbership in the Antwerp Academy. As was expecte ainter worth his salt in those days, he also made the d of any painter worth his salt in those days, he also mandatory trip to Italy to study the great Renaissanc made the mandatory trip to Italy to study the great e masters. Although he was deeply affected by what Renaissance masters. Although he was deeply affec he saw, he did not go home and mimic the Italians' gr ted by what he saw, he did not go home and mimic t andiose biblical and mythological themes in Roman he Italians' grandiose biblical and mythological the architectural settings. Instead, he concentrated on o mes in Roman architectural settings. Instead, he co ne of the here-and-now problems of Flemish life. His ncentrated on one of the here-and-now problems o country was desperately fighting off political and spir f Flemish life. His country was desperately fighting itual domination by Spain and the Catholic Church. T off political and spiritual domination by Spain and t hough Pieter Bruegel, the Elder, was not a blatantly r he Catholic Church. Though Pieter Bruegel, the Eld eligious painter, his works were preachy and moralizi er, was not a blatantly religious painter, his works w ng in their own inimitable way. Instead of portraits of ere preachy and moralizing in their own inimitable holy families and saints, he painted peasants. Instea way. Instead of portraits of holy families and saints

BOOK ITALIC MEDIUM ITALIC

According to the record books, there were no fewer than twelve pa According to the record books, there were no fewer than twelve inters in this distinguished Flemish family. Without doubt, the b painters in this distinguished Flemish family. Without doubt, t est known of them is Pieter Bruegel, the Elder, who lived from 15 he best known of them is Pieter Bruegel, the Elder, who lived fr 25 to about 1569. By the time he was 26, he was admitted to m om 1525 to about 1569. By the time he was 26, he was admit embership in the Antwerp Academy. As was expected of any pai ted to membership in the Antwerp Academy. As was expected nter worth his salt in those days, he also made the mandatory tri of any painter worth his salt in those days, he also made the m p to Italy to study the great Renaissance masters. Although he w andatory trip to Italy to study the great Renaissance masters as deeply affected by what he saw, he did not go home and mimic Although he was deeply affected by what he saw, he did not go the Italians' grandiose biblical and mythological themes in Rom home and mimic the Italians' grandiose biblical and mythologi an architectural settings. Instead, he concentrated on one of the cal themes in Roman architectural settings. Instead, he concen here-and-now problems of Flemish life. His country was despera trated on one of the here-and-now problems of Flemish life. Hi tely fighting off political and spiritual domination by Spain and s country was desperately fighting off political and spiritual do the Catholic Church. Though Pieter Bruegel, the Elder, was not mination by Spain and the Catholic Church. Though Pieter a blatantly religious painter, his works were preachy and morali Bruegel, the Elder, was not a blatantly religious painter, his w zing in their own inimitable way. Instead of portraits of holy fam orks were preachy and moralizing in their own inimitable way ilies and saints, he painted peasants. Instead of fantasies of heav Instead of portraits of holy families and saints, he painted peas en and hell, he painted country landscapes... the seasons... peas ants. Instead of fantasies of heaven and hell, he painted countr ants at work and peasants at play. It earned him the nickname y landscapes...the seasons...peasants at work and peasants at Peasant Bruegel." But what Bruegel meant to express in his pas play. It earned him the nickname, Peasant Bruegel." But wha 29 ARESE

BOLD ULTRA

According to the record books, there were no few According to the record books, there were er than twelve painters in this distinguished Flemi no fewer than twelve painters in this distin sh family. Without doubt, the best known of them is guished Flemish family. Without doubt, the Pieter Bruegel, the Elder, who lived from 1525 to best known of them is Pieter Bruegel, the E about 1569. By the time he was 26, he was admitte 'der, who lived from 1525 to about 1569. By t d to membership in the Antwerp Academy. As was he time he was 26, he was admitted to mem expected of any painter worth his salt in those day bership in the Antwerp Academy. As was ex s, he also made the mandatory trip to Italy to study pected of any painter worth his salt in thos the great Renaissance masters. Although he was d e days, he also made the mandatory trip to I eeply affected by what he saw, he did not go home taly to study the great Renaissance master and mimic the Italians' grandiose biblical and myt s. Although he was deeply affected by what hological themes in Roman architectural settings he saw, he did not go home and mimic the It Instead, he concentrated on one of the here-and alians' grandiose biblical and mythological now problems of Flemish life. His country was des themes in Roman architectural settings. In perately fighting off political and spiritual domina stead, he concentrated on one of the here-a tion by Spain and the Catholic Church. Though Pie nd-now problems of Flemish life. His countr ter Bruegel, the Elder, was not a blatantly religiou y was desperately fighting off political and s painter, his works were preachy and moralizing i spiritual domination by Spain and the Cath n their own inimitable way. Instead of portraits of olic Church. Though Pieter Bruegel, the Eld

BOLD ITALIC

According to the record books, there were no fewer than twelve painters in this distinguished Flemish family. W ithout doubt, the best known of them is Pieter Bruegel the Elder, who lived from 1525 to about 1569. By the ti me he was 26, he was admitted to membership in the A ntwerp Academy. As was expected of any painter worth his salt in those days, he also made the mandatory trip to Italy to study the great Renaissance masters. Althou gh he was deeply affected by what he saw, he did not go abcdefghij klmnopqrstuvwxyz home and mimic the Italians' grandiose biblical and m ABCDEFGHIJKLMNOPQRSTUVWXYZ ythological themes in Roman architectural settings. In stead, he concentrated on one of the here-and-now pro 1234567890!$%C&*() blems of Flemish life. His country was desperately fight c01ECE13coce ing off political and spiritual domination by Spain and the Catholic Church. T hough Pieter Bruegel, the Elder abcdefghijklrnnopqrstuvwxyz was not a blatantly religious painter, his works were p ABCDEFGHIJKLMNOPQRSTUVWXYZ reachy and moralizing in their own inimitable way. Ins tead of portraits of holy families and saints, he painted 1234567890!$%(&*() peasants. Instead of fantasies of heaven and hell, he pa cOlECEfhooece 30 FAMILIES TO REMEMBER

HE BARRYMORES AND

none of the Barrymore children wanted to act, out of necessity and their grandmother's connections they were eventually drawn to the theatre. Lionel (1878-1954) hoped to be an artist and actually spent four years in Paris studying painting. When he recognized there was no future for him in the art world, he returned home and to the theatre. He played opposite his brother John in "Peter Ibbetson" (1917), in "The Jest" (1919) and won acclaim for his performances in "Macbeth." But he is best remembered for his films: "Rasputin and the Empress" (1933) which starred all three Barrymores, "David Copperfield" (1934), "Captains Courageous" (1937) and countless "Dr. Kildare" pictures, in which he played the venerable Dr. Gillespie. He also created Either because of our classless society, or in the quintessential Scrooge in the annual radio spite of it, Americans have always been smit- broadcasts of "A Christmas Carol." ten by royalty. So there was universal approv- Ethel (1879-1959) fancied a career as al when we finally found a family we could a concert pianist, but wound up onstage as crown "The Royal Family of the American an actress instead. As a teen-ager she played Theatre." The Barrymores deserved the title. small roles opposite her grandmother, but Grandfather John Drew Sr. was a famous her first personal triumph came in "Captain Irish actor. Grandmother Louisa Lane Drew Jinks of the Horse Marines" (1901), and was one of the most revered actresses and later in "Alice-Sit-by-the-Fire" (1905), "Mid theatre managers of the 19th century. Both Channel" (1910), "The Constant Wife" (1920) their children, John Jr. and Georgina went and "The Corn is Green" (1942). Although on stage. And after Georgina married the she appeared in a few films, she remained English actor, Maurice Barrymore (stage tied to the theatre. Her devotion was rewarded name, Herbert Blythe) they became the par- with a Broadway theatre named for her in ents of Lionel, Ethel and John. 1928 and an honorary doctoral degree from Because the Barrymores were perpetu- New York University in 1952. ally on tour, the children grew up in their John (1882-1942) with his celebrated grandmother's house. Their lives were profile and dazzling histrionics was a mag- clouded early on by Georgina's untimely net at the box office. On Broadway he played death, and later, by Maurice's mental deteri- record-breaking performances in demand- oration. So it was almost exclusively ing roles: "Peter Ibbetson" (1917), "Richard through their grandmother's influence that III" (1920) and repeated performances of

they found stability and direction. Though "Hamlet ." Eventually Hollywood won him 31

ITC AMERICAN TYPEWRITER

ITC American Typewriter' was released in 1974 to mark the 100th anniversary of the invention of the office typewriter. The challenge for Joel Kaden and Tony Stan was to create a typeface design which would retain the immediacy, personal- ism, and familiarity of standard typewriter output while over- coming its inherent flaws of readability and legibility. ITC American Typewriter is the successful end result of their effort. In the years since its initial release, ITC American Type- writer has become a standard of typographic communication. When first released, the family was available only for use on photocomposition equipment. Today it has successfully made the transition to digital typesetters, and even come full circle to find itself back in the office— as part of the library of faces available on electronic printers. ITC American Typewriter strikes a happy compromise with its office forerunner. The typewriter's rigid spacing (which assigns the same amount of space to a lowercase "i" as it does to a capital "W") is done away with. The letterforms are unmistakably influenced by a typewriter font, yet they are far more legible, and ultimately more readable than any standard typewriter output. Offering the best of both worlds: friendly, familiar and at the same time sophisticated, ITC American Typewriter is certainly a typographic asset. "Welcome Back!" to an old friend.

with plum roles in "Counselor at Law" (1933), "Romeo and Juliet" (1936), "Marie Antoinette" (1938) and "The Great Man Votes" (1939). But his personal traumas served to traumatize his career. His mother's early death, his father's mental deterioration, four chaotic marriages and his own alcoholism took their toll. He died in spiritual and financial bankruptcy, despite his stag- gering early success.

HEADLINE: ITC AMERICAN TYPEWRITER MEDIUM TEXT. MEDIUM. BOLD ILLUSTRATIONS BY JOE CIARDIELLO 32 ITC AMERICAN

LIGI- T MEDIUM

Either because of our classless society, or in spite Either because of our classless society, or in spi of it, Americans have always been smitten by roy to of it, Americans have always been smitten b alty. So there was universal approval when we fin y royalty. So there was universal approval whe ally found a family we could crown "The Royal F n we finally found a family we could crown "Th miry of the American Theatre." 'l'he Barrymores e Royal Family of the American Theatre." The B deserved the title. Grandfather John Drew Sr. wa arrymores deserved the title. Grandfather Joh s a famous Irish actor. Grandmother Louisa Lane n Drew Sr. was a famous Irish actor. Grandmot Drew was one of the most revered actresses and t her Louisa Lane Drew was one of the most reve heatre managers of the 19th century. Both their red actresses and theatre managers of the 19t children, John Jr. and Georgina went on stage. A h century. Both their children, John Jr. and Ge nd after Georgina married the English actor, Ma orgina went on stage. And after Georgina mar urice Barrymore (stage name, Herbert Blythe) th ried the English actor, Maurice Barrymore (of ey became the parents of T lonel, Ethel and John age name, Herbert Blythe) they became the pa Because the Barrymores were perpetually on tou rents of Lionel, Ethel and John. Because the Bo r, the children grew up in their grandmother's ho rrymores were perpetually on tour, the childre use. Their lives were clouded early on by Georgin n grew up in their grandmother's house. Their a's untimely death, and later, by Maurice's menta lives were clouded early on by Georgina's unti 1 deterioration. So it was almost exclusively throu mely death, and later, by Maurice's mental dete gh their grandmother's influence that they four rioration. So it was almost exclusively throug

LIGHT CONDENSED MEDIUM CONDENSED

Either because of our classless society, or in spite of it, America Either because of our classless society, or in spite of it, Amer ns have always been smitten by royalty. So there was universa_ icans have always been smitten by royalty. So there was uni approval when we finally found a family we could crown "The versal approval when we finally found a family we could cro Royal Family of the American Theatre." The Barrymores deser wn "The Royal Family of the American Theatre." The Barry ved the title. Grandfather John Drew Sr. was a famous Irish act mores deserved the title. Grandfather John Drew Sr. was a f or. Grandmother Louisa Lane Drew was one of the most revere amous Irish actor. Grandmother Louisa Lane Drew was one d actresses and theatre managers of the 19th century. Both the of the most revered actresses and theatre managers of the 1 it children, John Jr. and Georgina went on stage. And after Geo 9th century. Both their children, John Jr. and Georgina wen rgina married the English actor, Maurice Barrymore (stage na t on stage. And after Georgina married the English actor, Ma me, Herbert Blythe) they became the parents of Lionel, Ethel a urice Barrymore (stage name, Herbert Blythe) they became nd John. Because the Barrymores were perpetually on tour, th the parents of Lionel, Ethel and John. Because the Barrymo e children grew up in their grandmother's house. Their lives w res were perpetually on tour, the children grew up in their g ere clouded early on by Georgina's untimely death, and later, b randmother's house. Their lives were clouded early on by Ge y Maurice's mental deterioration. So it was almost exclusively t orgina's untimely death, and later, by Maurice's mental dete hrough their grandmother's influence that they found stabilit rioration. So it was almost exclusively through their grandm y and direction. Though none of the Barrymore children want other's influence that they found stability and direction. Tho ed to act, out of necessity and their grandmother's connection ugh none of the Barrymore children wanted to act, out of ne s they were eventually drawn to the theatre. Lionel (1878-195 cessity and their grandmother's connections they were eve 4) hoped to be an artist. As a teenager, he occasionally played s ntually drawn to the theatre. Lionel (1878-1954) hoped to b 33 TYPEWRITER

BOLD

BOLD CONDENSED

Either because of our classless society, or in spite of it, A mericans have always been smitten by royalty. So there w as universal approval when we finally found a family we c ould crown "The Royal Family of the American Theatre." The Barrymores deserved the title. Grandfather John Dre w Sr. was a famous Irish actor. Grandmother Louisa Lane Drew was one of the most revered actresses and theatre m anagers of the 19th century. Both their children, John Jr. and Georgina went on stage. And after Georgina married t he English actor, Maurice Barrymore (stage name, Herbe abcdefghijklrnnopqrstuvwxyz rt Blythe) they became the parents of Lionel, Ethel and J ABCDEFGHIJKLMNOPQRSTUVWXYZ ohn. Because the Barrymores were perpetually on tour, th 1234567890!PAA&*() e children grew up in their grandmother's house. Their li caeECEBc0ce yes were clouded early on by Georgina's untimely death, a nd later, by Maurice's mental deterioration. So it was alm abcdefghijklmnopqrstuvwxyz ost exclusively through their grandmother's influence th ABCDEFGHIJKLMNOPQRSTUVWXYZ at they found stability and direction. Though none of the Barrymore children wanted to act, out of necessity and th 1234567890!$%(0&*() eir grandmother's connections they were eventually draw cOACE1390wce 34 FAMILIES TO REMEMBER

HE AMATIS,9 GUARNERIS 9

details of construction. His earliest violin, labeled "Amadus," bore the date 1564. Two Amati sons, Antonio (1550-1638) and Geronimo (1556-1630) continued the family business. But it was a third generation Amati, Nicolo (1595-1694), son of Geronimo, who was the most eminent craftsman of them all. Although he was known for the small scale and quiet, delicate sound of his instruments, he also produced the famous "Grand Amatis." These expanded violins produced a profound sound and exquisite tone. Aside from his personal contributions to the craft, Nicolo Amati was also responsible for training the succeeding generations of brilliant violin makers, for among When it comes to violins, Stradivari is gener- his apprentices were Andrea Guarneri and ally the first name that comes to mind. But Antonio Stradivari. the fact is, the violin was born long before In truth, Andrea Guarneri himself was Antonio Stradivari. It was a crude little instru- not a particularly accomplished violin ment with a small and uninspired sound. maker. But his sons, Pietro (1655-1728) and However, in the mid-1500s, a few Italian fami- Giuseppi (1666-1739), who took over the lies in the town of Cremona put their innate family business after Andrea's death, were genius to work and turned the violin into the masters. And by far the most celebrated artist sublime instrument we know today. of the entire Guarneri clan was Giuseppi's Either by instinct, divine inspiration or son, Giuseppi Antonio (1687-1745). He was luck, these craftsmen knew exactly which known as "del Gesu," and his violins were woods to choose, the critical gradations for unprecedented. They produced a prodigious each section of the instrument, the ideal masculine sound, and though the man him- shape and size for the body, the perfect self was something of a scoundrel (he was length and curve of the f-holes, the precise imprisoned for certain immoral behavior), as formula for varnish... and all those other elu- a craftsman he was a phenomenon. sive factors that made their instruments Antonio Stradivari (1644-1737) brought acoustically magical. the art of violin making to its zenith. His The Amatis were the first notable family of earliest instrument, dated 1666, was made violin makers. Of the two brothers, Andrea while he was still apprenticed to Nicolo and Nicolo, Andrea (c. 1520-1580) receives Amati. But his legendary violins were pro- particular credit for his contributions. He duced in his own workshop in the early was wealthy enough to travel about Europe 1700s. He experimented with different and acquire the finest, most appropriate woods, with a variety of sizes and shapes woods. He also had a special gift for the and with new varnish formulas. His violins 35

STRADIVARIS AND ITC BOOKMAN

ITC Bookman" wears well. It is just as fresh, just as vibrant a design today, as when it was first introduced in the pages of U&lc over ten years ago. ITC Bookman is a revival of a typeface called "Old Style Antique" which was originally released about 1860 by the Scottish type foundry of Miller & Richard. Old Style Antique was an immediate success, and within a very short time most type founders on both sides of the Atlantic had developed their own versions. When the American Type Founders Company was created through the merging of several United States foundries during the

"s,71/.4.1.Ge late 1800s, it acquired various designs of this type style. Only one was released, however, under the name Bookman. While there is a direct lineage and a clear family resemblance to previous designs, ITC Bookman is a distinct departure from other Bookmans. ITC Bookman was developed as a full and versatile typeface family. Designer Ed Benguiat

..211/4 created four roman weights with .Ps .0karwle's corresponding italic designs when he drew ITC Bookman. Another -47:q departure from earlier designs is in the italics. ITC Bookman has a true cursive form to its italic characters; earlier versions had just an inclined roman. ITC Bookman also has a significantly larger x- height and more contrast in stroke weight than the ATF version. The result is a beautiful yet sturdy design, ideally suited to a wide variety of typographic communication. We take great pleasure in re-introducing ITC Bookman!

are considered to be the most brilliant and powerful instruments ever produced, and they are exquisite in their ornamental detail. Aside from the quality of his instruments, he was unsurpassed in quantity. He produced over 1,000 violins, as well as dozens of violas and violoncellos. When he died, he left a number of unfinished instruments in his shop. They were completed by the two of his eleven children who carried on the family business.

HEADLINE' ITC BOOKMAN LIGHT TEXT: LIGHT. DEMI ILLUSTRATIONS BY JOE CIARDIELLO 36 ITC BOO

LIGHT MEDIUM

When it comes to violins, Stradivari is generally When it comes to violins, Stradivari is general the first name that comes to mind. But the fact ly the first name that comes to mind. But the f is, the violin was born long before Antonio Stra act is, the violin was born long before Antonio divari. It was a crude little instrument with a s Stradivari. It was a crude little instrument wit mall and uninspired sound. However, in the mi h a small and uninspired sound. However, in t d-1500s, a few Italian families in the town of Cre he mid-1500s, a few Italian families in the tow mona put their innate genius to work and turn n of Cremona put their innate genius to work ed the violin into the sublime instrument we k and turned the violin into the sublime instru now today. Either by instinct, divine inspiratio ment we know today. Either by instinct, divin n or luck, these craftsmen knew exactly which e inspiration or luck, these craftsmen knew e woods to choose, the critical gradations for eac xactly which woods to choose, the critical gra h section of the instrument, the ideal shape an dations for each section of the instrument, th d size for the body, the perfect length and curve e ideal shape and size for the body, the perfect of the f-holes, the precise formula for varnish length and curve of the f-holes, the precise for and all those other elusive factors that made th mula for varnish and all those other elusive fa eir instruments acoustically magical. The fact i ctors that made their instruments acousticall s, many of their techniques remain undiscover y magical. The fact is, many of their technique ed secrets to this day. The Amatis were the first s remain undiscovered secrets to this day. Th notable family of violin makers. Of the two brot e Amatis were the first notable family of violin

LIGHT ITALIC MEDIUM ITALIC

When it comes to violins, Stradivari is generall When it comes to violins, Stradivari is gener y thefirst name that comes to mind. But thefa ally thefirst name that comes to mind. But t ct is, the violin was born long before Antonio St hefact is, the violin was born long before Ant radivari. It was a crude little instrument with onio Stradivari. It was a crude little instrume a small and uninspired sound. However, in th nt with a small and uninspired sound. Howe e mid-1500s, afew Italianfamilies in the town ver, in the mid-1500s, afew Italianfamilies in of Cremona put their innate genius to work an the town of Cremona put their innate genius d turned the violin into the sublime instrumen to work and turned the violin into the sublim t we know today. Either by instinct, divine ins e instrument we know today. Either by instin piration or luck, these craftsmen knew exactly ct, divine inspiration or luck, these craftsme which woods to choose, the critical gradations n knew exactly which woods to choose, the c for each section of the instrument, the ideal sh ritical gradations for each section of the inst ape and sizefor the body, the perfect length a rument, the ideal shape and sizefor the body nd curve of thef-holes, the preciseformulafor the perfect length and curve of thef-holes, th varnish. . . and all those other elusive factors t e preciseformulafor varnish...and all those hat made their instruments acoustically magi other elusive factors that made their instru cal. Thefact is, many of their techniques rema ments acoustically magical. The fact is, ma in undiscovered secrets to this day. The Amati ny of their techniques remain undiscovered s were thefirst notablefamily of violin maker secrets to this day. The Amatis were thefirst 37

DEMI BOLD

When it comes to violins, Stradivari is general When it comes to violins, Stradivari is gene ly the first name that comes to mind. But the f rally the first name that comes to mind. But act is, the violin was born long before Antonio the fact is, the violin was born long before A Stradivari. It was a crude little instrument wit ntonio Stradivari. It was a crude little instr h a small and uninspired sound. However, in t ument with a small and uninspired sound he mid-1500s, a few Italian families in the to However, in the mid-1500s, a few Italian fa wn of Cremona put their innate genius to wor mines in the town of Cremona put their inna k and turned the violin into the sublime instr to genius to work and turned the violin into ument we know today. Either by instinct, divi the sublime instrument we know today. Eit ne inspiration or luck, these craftsmen knew her by instinct, divine inspiration or luck, t exactly which woods to choose, the critical gr hese craftsmen knew exactly which woods t adations for each section of the instrument, t o choose, the critical gradations for each se he ideal shape and size for the body, the perfe ction of the instrument, the ideal shape and ct length and curve of the f-holes, the precise f size for the body, the perfect length and cur ormula for varnish ...and all those other elusi ve of the f-holes, the precise formula for var ve factors that made their instruments acoust nish ...and all those other elusive factors th ically magical. The fact is, many of their techn at made their instruments acoustically ma iques remain undiscovered secrets to this da gical. The fact is, many of their techniques r y. The Amatis were the first notable family of emain undiscovered secrets to this day. The

DEMI ITALIC BOLD ITALIC

When it comes to violins, Stradivari is gener When it comes to violins, Stradivari is ge ally thefirst name that comes to mind. But t neraUy thefirst name that comes to min hefact is, the violin was born long before An d. But thefact is, the violin was born long tonio Stradivari. It was a crude little instru before Antonio Stradivari. It was a crude ment with a small and uninspired sound. H little instrument with a small and unins owever, in the mid-1500s, afew Italianfamil pired sound. However, in the mid-1500s ies in the town of Cremona put their innate g afew Italianfamilies in the town of Crem enius to work and turned the violin into the s ublime instrument we know today. Either by instinct, divine inspiration or luck, these cr abcdefghijklmnopqrstuvwxyz aftsmen knew exactly which woods to choo ABCDEFGHIJKLMNOPQRSTUVWXYZ se, the critical gradationsfor each section o 1234567890!$%0&*() f the instrument, the ideal shape and sizefo r the body, the perfect length and curve of th cOlECE8c0ce ef-holes, the preciseformulafor varnish an abcdefghijklmnopqrstuvwxyz d all the other elusive factors that made t ABCDEFGHIJKLMNOPQRSTUVWXYZ heir instruments acoustically magical T he fact is, many of their techniques remain 1234567890!$%08z,*0 undiscovered secrets to this day. The Amati MECEJ3c0a2ce 38

THE FATE OF THE

The first Herb Lubalin International Cipe Pineles Burtin, graphic designer planet. There is a great amount of "We were all very pleased to find Student Design Competition was an and Director of Publication Design at power and invention in the show—this among the winners lesser known international success. The jury selected Parsons School of Design; Richard indeed is important work! schools and a fine cross section of 77 posters, books, sculptures and Danne, principal of Danne & Black- countries was represented. games by students from nine coun- burn, Inc., a design firm in New York "These designs manifest the vitality tries. The pieces were displayed at the City, Steff Geissbuhler, a partner in the and commitment of our young people. "I was impressed by the response to ITC Center last Fall, and a slide version New York City design firm of Cher- Their entries from around the world this competition. Obviously there is were exciting to judge and of the show is available to travel. More mayeff & Geismar Associates, George I am great concern and interest out there than 900 students from 21 countries on Lois, Chairman and Creative Director pleased to have been a part of this for the fate of this earth!' five continents created graphic inter- of Lois, Pitts, Gershon PON/GGK ambitious and meaningful exhibition!" STEFF GEISSBUHLER pretations of a selected passage from Advertising in New York City, and RICHARD DANNE RENEWED FAITH. Jonathan Schell's book "The Fate of Bradbury Thompson, graphic designer THE DIVERSITY OF WORK WAS the Earth," detailing the devastation and faculty member of Yale University. SURPRISING. "The Fate of the Earth submissions that could occur in the event of a nu- gives me renewed faith in the talent, The judges praised the students' work clear holocaust. "The diversity of work submitted based passion and humanity of the young and the valued experience of judging a on a single theme was surprising. Al- people of the world!" GEORGE LOIS Mr. Harry Zaverdas, a student at the show on a theme of such universal con- though the work of students, many of Cooper Union for the Advancement of cern. Some of their comments follow: the solutions were quite professionally "I was astonished and encouraged by Science and Art, in New York City, was the fact that young people, far from POWER AND INVENTION. executed and presented. There was awarded first prize in the competition plenty of imagination and creative avoiding such a vital and upsetting and received the Herb Lubalin Medal "This judging provided a unique experi- ideas, although little evidence of good subject as extinction by atomic war, and a prize of $5,000. Second place, ence since the exhibition deals with a typography. Overall, however, the ideas responded eagerly to this first Herb with a prize of $2,500, was awarded to subject critical to all citizens of the were better than the execution. Lubalin International Competition!' Ms. Michelle Rossbach, a student at the CIPE PINELES BURTIN Kansas City Art Institute, Kansas City, Missouri. AN EXCELLENT VARIETY. Third prizes of $500 each were awarded "The Fate of the Earth project spon- to Ms. Claude Conyers (Ecole des Arts sored by the ITC provided a most Decoratifs, Geneva, Switzerland), worthwhile jury experience. Mr. Jonathan Kremer (Tyler School of "The young designers from 21 countries Art, Elkins Park, Pennsylvania), Mr. Herb Lubalin Medal Student Competition draws from 21 countries. produced an excellent variety of Albert Landa (Otis Institute of Parsons graphic design work: small printed School of Design, Los Angeles, Califor- pieces, single sheets of remarkable nia), Ms. Claudia Moreno Peralta (Par- calligraphy, booklets, books, posters, sons School of Design, New York, New three-dimensional constructions and York), Mr. Paulo T Suzuki (Cooper even complete corporate design Union, New York, New York) and Chris- programs!" BRADBURY THOMPSON tine Tbmaszewski (Fachhochschule Wiesbaden, Wiesbaden, West Ger- The Herb Lubalin Medal will be many). Two additional third prizes were awarded annually to the winner of a shared by Ms. Cecile Moos and Mr. student design competition sponsored Bruno Watel (Ecole Superieure des by International Typeface Corporation Arts Graphiques, Paris, France), and by (ITC). Herb Lubalin was one of the Ms. Bridget Ann Ashley, Ms. Julie E. founders of ITC and an internationally Elkins, Ms. Diane J. Jones, Ms. Joanne honored typographic and typeface E. L. Mitchell and Mr. Paul Thompson designer, as well as the original editor (as a team of students at the Ports- and designer of U&lc. He was deeply mouth College of Art and Design, concerned with students and with Portsmouth, England). issues of human welfare and this show is a fitting first tribute to his memory. All ten prize winners are shown starting on page 39. The theme of, and call for entries of, the second show, "Stop! I Want Tb Although the entrance requirements Think About That;' was announced in for this exhibition called for all type to the previous issue of U&lc and again be set in ITC typefaces, some entries in this issue. used non-ITC typefaces. Though ineli- gible for the top 10 awards they were "The Fate of The Earth" exhibition at ruled eligible for inclusion in the show. Left to right: Richard Danne, Cipe Pineles Burtin, Steff Geissbuhler, George Lois and the ITC Center took place forty years Bradbury Thompson. after the bombing of Hiroshima and The jury for the competition included Nagasaki.

HEADLINE: ITC FRANKLIN GOTHIC HEAVY TEXT: ITC VELJOVIC BOOK WITH SMALL CAPS CAPTIONS. BOLD, BOOK 39

THE FATE

THE 31.01.1, ovo. vami a. r■ min moo,. No aro. M. p.m* ... 04.191•Pow..... at *PIM nun111. VW.. MEI J....own • EARTH and

Nicholas Castle, SouThsea, England Nicholas Taylor, New Jersey, USA Jungron Chong, California, USA David Elliot, Portsmouth, England School of Visual Arts Otis Institute of Parsons School of Design Michael Fair, Portsmouth, England New York, USA California, USA Sara Hannides, Portchester, England ITC Franklin Gothic & ITC Avant Garde Gothic,17 x 22" Jane Livermore, Southend-on-Sea, England ITC Avant Garde Gothic, VI x 17" Joseph Margiotti, Glasgow, Scotland Portsmouth College of Art, Design and Further Education Portsmouth, England ITC Century,16 5/8 x 11 5/8"

Mercury Venus

Mars Jupiter Saturn Uranus Neptune Pluto

The Fate Of The Earth

Karen Craig, Pennsylvania, USA Vladimir Perlin, Moscow, USSR Juan C. Rodriguez, California, USA Syracuse University Moscow Printing Institute Otis Institute of Parsons School of Design New York, USA Moscow, USSR California, USA ITC American Typewriter,15 x 20" ITC Avant Garde Gothic,9 7/8 x 9 7/8" ITC Lubalin Graph,17 x 22" 40

Paddy Lynch, New York, USA Olga Bogomolova, Moscow, USSR Fashion Institute of Technology Moscow Printing Institute New York, USA Moscow, USSR ITC Avant Garde Gothic,20 x LIO" ITC American Typewriter,19 x 33"

Gloria M. Ayalde, Maryland, USA Jeffrey C. Batzli, Pennsylvania, USA American University Tyler School of Art of Temple University District of Columbia, USA Pennsylvania, USA ITC Avant Garde Gothic,13 x 40" ITC Avant Garde Gothic & ITC Century. 9 3/8 x 7 1/8"

an and !new me Mum. and ‘Mn pC,35 in the time are burned tonlON bath it took to read this

Susan Merrell, New York. USA Lydia Davidson, New York, USA Syracuse University University of Cincinnati New York, USA Ohio, USA ITC Isbe11,23 1/2 x 291/4" ITC Machine, 2 1/0 x 2 1/4 x 33/8" 41

"IN WEIGHING THE FATE OF THE EARTH AND. WITH IT. OUR OWN FATE, WE STAND BEFORE A MYSTERY, AND IN TEMPERING WITH THE EARTH WE TAMPER WITH A MYSTERY WE ARE IN DEEP IGNORANCE OUR IGNORANCE SHOULD DISPOSE US TO WONDER, OUR WONDER SHOULD MANE US HUMBLE, OUR HUMILITY SHOULD INSPIRE US TO REVERENCE AND CAUTION,AND _ _ OUR REVERENCE AND CAUTION SHOULD LEAD US TO ACT WITHOuT DRAM WITHDRAW THE THREAT WE NOW POSE TO TER EARTH AND TO OURSELVES'. -FROM 11* FATE OF THE EARTH BY JONATHAN SCALD TH Pascal Pariselle, Paris. France Gail Hammond, New Jersey. USA Ecole Superieure des Arts Graphiques Pratt Institute Paris, France New York, USA ITC Avant Garde Gothic,165/8 x 11 5/8" ITC Avant Garde Gothic & ITC Machine, 16 x 22"

Tracy Boyd, New York, USA Priscilla Henderer, Delaware, USA University of Delaware University of Delaware Delaware, USA Delaware, USA ITC Avant Garde Gothic, 31/4" diameter ITC Avant Garde Gothic.8 1/2 x 5"

A. Thella Hall, Utah, USA Jackie Alzmann, New York, USA Anne Buller, Ohio, USA Brigham Young University Syracuse University University of Cincinnati Utah, USA New York, USA Ohio, USA Palatino,14 x 48" ITC Avant Garde Gothic,103/4 x 36" ITC Century Bold,9 1/4 x 3 1/4 x 1 7/8"

THE ATE FT

INNIthl

Janice Hogan, New Jersey, USA Manfred Duda, Bodenheim/Rhein, West Germany David Shavrick, New York, USA Parsons School of Design Fachhochschule Wiesbaden Parsons School of Design New York, USA Wiesbaden, West Germany New York, USA ITC Lubalin Graph Bold.9 7/8 x 58 5/8" ITC Avant Garde Gothic & ITC Machine & ITC Garamond, 20 1/4 x15 1/4" ITC Souvenir, 23'/4 x 16 1/2"

weighing the fat" of the ow* and. with it our was fatesse stand before a nrywiery,.anti in tam with the earthye tamper wfrh a toys tery.lie ore intim, ignorance. Our ignw ranee alsaold dispose to to wander,00r woodier timid sake*" lisedidemtehor *pity astoremesee stud imumml ear reverent* sad maim *mid kolas to act Mao* 4iday to eitioiraw the *real we as* post Mae earth and M astraches." Prime nelielitqftlithowa Ilryjandriskitil as *Pm

Ales Najbrt, Prague, Czechoslovakia Anna Godfrey, New York, USA Sergey Nikolayev, Moscow, USSR Vysoka Skola Umeleckoprumyslova Pratt Institute Moscow Printing Institute Prague, Czechoslovakia New York, USA Moscow, USSR ITC Garamond Ultra Condensed, 38 x 25 1/4" Univers,19 3/4 x 14 3/8" ITC Serif Gothic, 8 1/4 x 8 1/4 x 85/8" 43

In thebeginhing, God created Aatim, in the end, Man created Atom.

Ulrich Giebl and Monika Nattefort, Allyson Olivia Sawyer, North Carolina, USA Elly Kistler, Virginia, USA Wuppertal, West Germany Virginia Commonwealth University Virginia Commonwealth University Bergische Universitat Virginia, USA Virginia, USA Wuppertal, West Germany ITC Avant Garde Gothic,16 x 20" ITC Franklin Gothic, 23 7/8 x 12" ITC New Baskerville, 39 3/8 x 28"

Albert Kapitonov, Moscow, USSR Cheryl L. Oppenheim, New York. USA Elaine Hogarty, Caulfield East, Australia Moscow Printing Institute Pratt Institute Chisholm Institute of Technology Moscow, USSR New York, USA Victoria, Australia ITC Avant Garde Gothic,15 3/4 x 10 3/4" ITC Avant Garde Gothic,18 x 24" Baskerville & Univers,241/4 x 161/2"

THE. FATE OF THE EARTH 000toryt O. by eb ank o wor oo ooy vt. ono... mob yabk.o. too, 4. ..r:. 1=j7S.r.'"' 10.10 .111.1.47.1116.11,0l101. 02,4101.K. tale ad um. bombl o. oy ooloo,to ofRokn tOKO ot nor yos yob sot oo 000bto yy, wyyy The Fate Of The Earth

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Romey Lincicome, Illinois, USA Dominique Moliere, Ferney-Voltaire, France Sean McCafferty, Kansas, USA Otis Institute of Parsons School of Design Ecole des Arts Decoratifs Northern Arizona University California, USA Geneva, Switzerland Arizona, USA ITC Avant Garde Gothic,14 x 22" ITC Galliard,15 3/4 x 21 5/8" Hand Lettered, Video

460 to. e— ,44 .0 4, ,47,reirw Ar Art r afr* .sit-.. ,ArAfe, " fo' .44.41 Awybeast w. ,tmetie,.t.e. rta 4444", Ikm4' 9 A01.,e4'kil. 1 4 Ce4.=1,4. +410 .'e 441,44 Ref 4.0104tr. 4, 4449401.4. nee /kW m.G Aw...froe 2>V ,e444 2 okr4446064

Melanie Lowe, Connecticut, USA Gary Alpern, Ohio, USA Sally Watt, Wyoming, USA School of Visual Arts Allgemeine Gewerbeschule Basel Kansas City Art Institute New York, USA Basel, Switzerland Missouri, USA Handwritten,10 x 13 3/4" ITC Avant Garde Gothic Oblique.17 x 24" . ITC Avant Garde Gothic,18 x 18" 45 5

FINALntt Tat Or THE MON 'IN OWN MI, WI STAND WORE A AIIITElly.THE SEE3_9mpot Fin ELTERTEll ItAET14 An. writs 1 Taaampin WITH it rui WAWAmoose WITN A WrITIRT WT. Ant IN OW' ilimio THE EARTH WE TO WONIXI. OUR WOADIA SNOuta MAAR oust Ull_ vs/swm:au stomp Kim t US TO EVAutthe t ituloal, OUR HtAUUTY rob` ro um tours*. AND OUP niwwmt AND wITHOUT DI LAY ro vernicoAvo mina. TO THE WON NW TO OURSALKS mom THE rare OFTHE EATITHTA THREAT JONA.THAN WE NOW SCHEU. MST.

First Prize and Winner of the Herb Lubalin Medal Harry Zaverdas, Elmhurst, New York, USA • Cooper Union, New York, New York, USA ITC Franklin Gothic,12 x 12 x 18"

Second Prize Michelle Rossbach, St. Louis, Missouri. USA Kansas City Art Institute, Kansas City, Missouri, USA ITC American Typewriter,18 1/8 x 47 1/8" 46

THE FATE CAF THE EARTH Thr [ATE of -ril l-. zed 1:\R; \NI) \VITH 7,1 OUR \ vvE s-rAND BEFoRE

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Third Prize Third Prize Paulo T. Suzuki, Brooklyn. New York. USA Christine Tomaszewski, Wiesbaden, West Germany Cooper Union, New York, New York, USA Fachhochschule Wiesbaden ITC Cheltenham, 26 x 20" Wiesbaden, West Germany Calligraphy, 33 3/8 x 20"

The Fate of the Earth theortal h.bark

Third Prize Third Prize Ms. Claude Conyers, Geneva, Switzerland Albert Landa, Pasadena, California, USA Ecole des Arts Decoratifs Otis Institute of Parsons School of Design Geneva. Switzerland Los Angeles. California, USA ITC Galliard,21 5/8x 15 3/4" ITC Avant Garde Gothic,171/2 x 27" 47

Third Prize Third Prize Claudia Moreno Peralta, Mexico City, Mexico Jonathan Kremer, Havertown, Pennsylvania, USA Parsons School of Design Tyler School of Art of New York, New York. USA Temple University, Elkins Park, ITC Machine & ITC Avant Garde Gothic, Pennsylvania, USA 21 3/8 x 12 7/8" ITC Symbol, ITC Franklin Gothic, ITC Souvenir & ITC Machine,10 x 12 x 2"

MUD VP Oa* tr * IOW MO =MO * *** MN* VOW 1 , FA'

Third Prize (shown above, 1 of 15 components) Third Prize Bridget Ann Ashley, Rowlands Castle. England Cecile Moos, Annecy, France Julie Elkins, Portsmouth, England Bruno Watel, Paris. France Diane Jones, Wrexham, Wales, England Ecole Superieure d'Arts Graphiques Joanne E. L. Mitchell, Southsea, England Paris, France Paul Thompson, Doncaster, England ITC Modern No.216 & ITC Avant Garde Gothic. Video Portsmouth College of Art. Design and Further Education, Portsmouth, England ITC American Typewriter & ITC Century,11 5/8 x 161/2" Lynnae Buxton, Minnesota. USA Peter Thomas McKay, Illinois, USA Brigham Young University The School of the Art Institute of Chicago Utah, USA Illinois, USA ITC Clearface, ITC Franklin Gothic & ITC Avant Garde Gothic, 24 x 16" ITC Ouorum,18 x 17"

THE LAST SUPPER

Hung Ky Nguyen, Perth, Australia Anna Catharina Smits, Darmstadt, West Germany Western Australian Institute of Technology Fachhochschule fur Gestaltung Bentley, Australia Darmstadt, West Germany ITC Serif Gothic,16 5/8. x 211/4" Uniyers,12 1/4 x 19 3/4"

114 ran s *4 Es011' Ow as e■ Vio ,11,14. M* IN4mo .rpiWy. Ana :41,10014.7.444 rtr40. 1/40■60*, nor W....cora e.makm,..0 Ihnid Wm, ul *art 0,007114 pg.gt mow poo• Iho 01011. , Mt (AU Cs rift WOW*,

Mary Cecile Gee, Texas, USA Anthony Holman, Texas, USA Austin Community College North Texas State University Texas, USA Texas, USA Assorted typefaces, 8 1/2 x 11" Handlettered,24 x 22'A" 49

Francine Blum, Virginia, USA Susan Raymond, New Jersey, USA Virginia Commonwealth University Pratt Institute Virginia. USA New York, USA ITC Souvenir,12 x 17" ITC Franklin Gothic, 7 3/4 x 51/2"

, lbe 1.141k twth Artl 4.41■ 1Ark.r. ItgoV.11.

Erica Honda, California, USA Donna DePaolis, New York, USA San Jose State University Pratt Institute California, USA New York, USA ITC Garamond,19" diameter ITC Symbol,12 x 17"

Janet Butterworth, Pennsylvania, USA Arlene Ouintans, New York, USA New England School of Art and Design Syracuse University Massachusetts, USA New York, USA ITC Souvenir, 9 1/2" diameter ITC/LSC Caslon No. 22 3 & ITC Avant Garde Gothic,15//8 x 183A"

The Fate 'Of The Earth

IN WEIGHING THE FATE OF THE EARTH AND, WITH IT OUR OWN FATE. WE STAND BEFORE A MYSTERY. AND IN TAMPERING WITH THE EARTH WE TAMPER WITH A MYSTERY, WE ARE IN DEEP IGNORANCE OUR IGNORANCE SHOULD DISPOSE US 10 WONDER. OUR WONDER SHOULD MAKE US HUMBLE OUR HUMILITY SHOULD INSPIRE US ID REVERENCE AND CAUTION AND OUR REVERENCE AND CAUTION SHOULD LEAD US TO ACT WITHOUT DRAY TO WITHDRAW DE THREAT WE NOW POSE 10 NE EARTH AND 10 OUSIVES —FROM THE THE FATE OF THE EARTH BY JONATHAN SCHTIL

Scott Van Kampen, Utah, USA Douglas Edward Murphy, New Jersey, USA Andre de Castro, California, USA Otis Institute of Parsons School of Design Brigham Young University Montclair State College California, USA Utah, USA New Jersey, USA ITC Garamond,18 x 27 1/2" ITC Avant Garde Gothic,9 x 23" ITC Avant Garde Gothic,22 x 41 1/8"

- ,..tom Ohe tale al tie tart*. wilt iLsor Me. we stead beim a syste- m mall at tan...riot area The eartb at latter intio a asysiere. Ile are in dent casemate_ ow itaterrave almildrapsfesstownaltc am amain goad ago as isable.ar Wane Amid 1110¢e 116 Ita meremat awl

0.1 BS LW a ;ape, wensie=toramme Oar oternace 9atdi2zev rd. tater far water azalea* eattre, car 9001.1i p.m,YS t. mums. .1 Lsgsm. tar eatr./ montadooes $¢e: tisi of- b art adamantly ontanientar tie. mem nr tee.* ati tteaAfas" sat

Liat Perry, New York, USA David Chiow, Missouri. USA Kier Lienhart, Illinois, USA Pratt Institute Washington University Otis Institute of Parsons School of Design New York, USA Missouri, USA California, USA ITC Novarese,11 x 14" ITC Franklin GothiC,8 1/2 x 11" ITC Avant Garde Gothic,173/4 x 281/4"

Antoinette Phillips, New York, USA Peter Kraus, Darmstadt, West Germany Jane E. Murphy, Maryland, USA Pratt Institute Fachhochschule Darmstadt Maryland Institute, College of Art New York, USA Darmstadt, West Germany Maryland, USA ITC Avant Garde Gothic,12 3/4 x 17 3/4" ITC Avant Garde Gothic, 28 3/4 x 20" ITC Franklin Gothic,18 x 21 1/2"

THEATE OUTItit EAREEI

^-11..0iopt. tidy 41'..th,nsi wadt. k ostt own qtr... Wo

0•14,..40.0 aboultVrtulte ono AA,

Ii11.10101■41.....44 .610111,444, .01/4110.14111111110. ItoW e10,4 • .40 RM. :66.31.:

Anne De Gloria, Geneva, Switzerland Olivier Pierre Louis Courtemanche, Erin M. Marona, New York, USA Ecole des Arts Decoratifs Coulommiers, France Pratt Institute Geneva, Switzerland Ecole Superieure d'Arts Graphiques New York, USA ITC Galliard,15 3/4 x 21 5/8" Paris, France ITC Avant Garde Gothic,16 3/8 x 11" ITC Avant Garde Gothic,17 3/4 x 11 5/8" 52

ifity went to Sc,1u,ol iocky THE it I earned About FATE , *AN, AfRICA OF SSIA And the THE USA° ri crirl He 0115 ib Know ■ b.. %I. I IP fiey MI n

John C. Youngberg, Utah, USA Louise Stever, Randwick, Australia Patrick Dick, Ohio, USA Brigham Young University Randwick College of Technical & University of Akron Utah, USA Further Education Ohio, USA ITC Lubalin Graph & ITC Avant Garde Gothic, Randwick, Australia Handwritten,14 x 17" 305/8 x 1978" ITC Avant Garde Gothic, 30 x 1978"

THERE IS NO SHELTER

Roman Werner, Gottwaldov, Czechoslovakia Susan E. Conley, New York. USA Hugo Espinosa, California, USA Vysoka Skola Umeleckoprumyslova Pratt Institute Otis Institute of Parsons School of Design Prague, Czechoslovakia New York, USA California, USA ITC Avant Garde Gothic, 38 3/4 x 27" ITC Franklin Gothic and ITC Garamond & ITC Caslon No. 224, ITC Avant Garde Gothic,11 x 16" 14 x 21 3/4"

CAPTIONS: ITC MIXAGE BOOK WITH BOLD 53

Most young men in military service spend their free time pursuing the usual off-duty pleasures—beer, mavies,girls but Helmut Kruse of West Germany had other diversions. During his two years of service in the navy, he spent all his free hours working on this arcane alphabet. He calls it the "matschaugen" alphabet which, if our German is any- where close to target, translates to "soft-eyes" alphabet. If it looks strange to you, imagine what his fellow servicemen thought. According to Helmut, whenever they saw him poring over his artwork, they stared and pointed and assured him there was something quite wrong with him. Right or wrong, he is obviously skillful, as anyone with normal eyes can see. Now, having completed his military obligations, he The alphabet with 29 "eyes" is enrolled in a program ingraphic design at a school in Munster, West Germany, where his imagination will no doubt be better appreciated than in the navy.

HEADLINE: ITC GALLIARD BLACK ITALIC TEXT' ITC GALLIARD ITALIC 54 Specimen booklets for each text/display typeface can be purchased from ITC. The order form for these specimen booklets appears on page 86 of this issue of tlegD1c. The ITC TEXT/DISPLAY FACES B.

'Fiji:Deface NEW FROM ITC ITC Esprit"' Book Book Italic Medium Medium Italic Collection Bold Bold Italic Black Black Italic

ITC Elan Book Book Italic Medium Medium Italic The typefaces shown on these pages represent the complete collection of ITC Typefaces as of February 15, 1986. Bold Bold Italic DISPLAY FACES Black Black Italic ITC AKI LINES® ITC`LM' (widened® aldgma, Typewritog 1301tE Chu IT( LW' (Wend Mir® ITC Mixage - ITC Bauhaus Heavy® ITC Didi® Book 043 @a5Cuuo C11@auw @drhe Book Italic Oiljg NT,K10 gMeillag® Medium ITC &maw Roman® ITC Eras Contolir® Medium Italic ITC Bolt Bold® ITC FM Face® Bold Bold Italic ITC/LSC Book Regular Roman® ITC Firenze® Black ITC/LSC Book Regular Italic® ru© Ranknn &D'Ug (Doane Black Italic ITC/LSC Book Bold Roman® Tr© PpartiE (oat At COIRIlir4 ITC/LSC Book Bold Italic® in Franklin. Gothic Contour® ITC Leawood"" ITC/LSC Book X-Bold Roman® ITC Gorilla® Book ITC/LSC Book X-Bold Italic® ITC Grizzly® Book Italic gU© owiEgnl. Medium Dcoitamn (Dmamc; ITC Grouch® Medium Italic ITC Bookman Contour with Swash® ITC Honda® Bold ITC 1MYYA I HGJ® X43 Ambd gugh® Bold Italic Black ITC BUSORAMA MEDIUM® ITC !label (*MAW Black Italic ITC BUSORAMA BOLD® EU© n@ThEDE Boild.ORMEDe ITC Caslon Headline® ITC MACHINE ® ITC/1,SC Caslon No.223® ITC MACHINE BOLO® ITC SymboV Book ITC/ LSC Caslon Light No.223 Italic® 114 1•4 N to I- di ir Book Italic ITC/LSC Caslon Regular No.223® ITC 31ilano Roman® Medium Medium Italic ITC/LSC Gaston Regular No.22.3 Italic® IT fr EO Bold ITC/LSC Caslon Bold No.223® ltd 1:(1.LC Bold Italic ITC / LSC Caslon Bold Nm223 Italic® ITC Ronda Light® Black Black Italic ITC/LSC Caslon X-Bold No.223® ITC Ronda® ITC/ LSC Caslon X-Bold No.223 Italic- ITC Ronda Bold® = Cheltenham Outtllhe® duc 2corl ecAhEc Bad Ouanc ,® ITC VeljoviCT" ITC chatellecom ITC/,&C_: Stymie Hatt-lirte' Book Outline Shadows Book Italic ITC Cheltenham Contour® ITC lulls Roman® Medium ilTC Clem-Ike Otllhi® ITC Upright Regular® Medium Italic Bold ITC Clearface Contour® ITC Upright neon® Bold Italic ITC Clearface Outline Shad Me Black Black Italic 55

ITC American ITC Bookman' ITC Eras ® ITC Kabel® ITC Serif Gothic® Typewriter ® Light Light Book Light Light Light Italic Book Medium Regular Medium Medium Medium Demi Bold Bold Medium Italic Demi Bold Extra Bold Light Condensed Demi Bold Ultra Heavy Medium Condensed Demi Italic Ultra Block Bold Condensed Bold Bold Italic ITC Korinna' ITC Fenice ® Regular ITC Souvenir® ITC Avant Garde Light Kursiv Regular Light Gothic ITC Caslon No. 224® Light Italic Bold Light Italic Extra Light Book Regular Kursk) Bold Medium Extra Light Oblique Book Italic Regular Italic Extra Bold Medium Italic Book Medium Bold Kursiv Extra Bold Demi Book Oblique Medium Italic Bold Italic Heavy Demi Italic Medium Bold Ultra Kursw Heavy Bold Medium Oblique Bold Italic Ultra Italic Bold Italic Demi Black Black Italic ITC Lubalin Graph. Demi Oblique ITC Franklin Gothic' ITC Tiffany Bold Extra Light Book Extra Light Oblique Light Bold Oblique ITC Book Condensed Century' Book Italic Book Light Italic Medium Condensed Light Medium Book Oblique Medium Demi Condensed Light Italic Medium Italic Medium Medium Italic Bold Condensed Book Demi Medium Oblique Demi Book Italic Demi Italic Demi Demi Italic Bold Heavy Demi Oblique Heavy ITC Barcelona® Bold Italic Heavy Italic Bold Heavy Italic Book Ultra Bold Oblique Book Italic Ultra Italic Light Condensed Friz Quadrata ITC Usherwood- Medium ITC Modern No. 216 - Book Medium Italic Light Condensed Italic Friz Quadrata Book Condensed Friz Quadrata Bold Light Book Italic Bold Italic Medium Bold Italic Book Condensed Italic Light Bold Condensed Medium Medium Italic Heavy ITC Galliard® Heavy Italic Bold Condensed Italic Medium Italic Bold Ultra Condensed Roman Bold Bold Italic Ultra Condensed Italic Roman Italic Bold Italic Black ITC Bauhaus® Bold Heavy Black Italic Bold Italic Heavy Italic Light ITC Cheltenham Medium Black Light Black Italic ITC Weidemanrf Demi ITC New Baskerville- Bold Light Italic Ultra Book Book Ultra Italic Roman Book Italic Book Italic Italic Medium ITC Benguiat® Bold Semi Bold Medium Italic Bold Italic ITC Garamond® Semi Bold Italic Bold Book Light Bold Bold Italic Book Italic Ultra Ultra Italic Light Italic Bold Italic Black Medium Book Black Black Italic Medium Italic Light Condensed Light Condensed Italic Book Italic Black Italic Bold Bold Bold Italic Book Condensed Book Condensed Italic Bold Italic ITC Zapf Book' Book Condensed ITC Newtext® Light Book Condensed Italic Bold Condensed Ultra Bold Condensed Italic Ultra Italic Light Light Italic Medium Condensed Light Condensed Light Italic Medium Medium Condensed Italic Ultra Condensed Light Condensed Italic Book Medium Italic Bold Condensed Ultra Condensed Italic Book Condensed Book Italic Demi Bold Condensed Italic Book Condensed Italic Regular Demi Italic ITC Clearface® Bold Condensed Regular Italic Heavy ITC Benguiat Gothic' Regular Bold Condensed Italic Demi Heavy Italic Regular Italic Ultra Condensed Demi Italic Book Ultra Condensed Italic Book Italic Bold .TTC Zapf Chancery® Bold Italic Medium ITC Novarese® Light Medium Italic Heavy ITC Isbell' Book Heavy Italic Liyht5talic Bold Book Book Italic Medium Bold Italic Black Medium Black Italic Book Italic Medium Nu& Heavy Medium Medium Italic Demi Heavy Italic Medium Italic Bold Bad ITC Cushing® Bold Bold Italic Ultra ITC Berkeley Oldstyle® Book Bold Italic ITC Zapf International ® Book Italic Heavy Book Heavy Italic Light Book Italic Medium ITC Quorum® Light Italic Medium Medium Italic Light Medium Medium Italic Bold Book Medium Italic Bold Italic Italia Bold Book Medium Demi Bold Italic Heavy Bold Demi Italic Heavy Italic Medium Black Bold Black Heavy Black Italic Heavy Italic 56

MICHAEL BODMER- SEYMON OSTILLY- Marketwinning-Ayer Lord, Geller, Federico, Einstein Puma—Ploeger Lettering IBM—Royal Composing Room JOOP BOEZEMAN- REX PETEET- McCann-Erickson Sibley, Peteet Design Aegon—Ploeger Lettering Valley View—Southwestern Typographies JOOP BOEZEMAN—McCann-Erickson Aegon—Ploeger Lettering WOODY PIRTLE—Pirtle Design Infoworks—Southwestern Typographies PAUL BOLEY—Leo Burnett USA Dewars White Label—RyderTypes HOWARD ROGERS- Alltypes (Needham, Harper) SIMON BOWDEN- Kraft Peanut Butter— Scali, McCabe, Sloves, Inc. Cooper & Beatty Ltd. Volvo—Royal Composing Room MIKE SCHELL—Young & Rubicam EARL CAVANAH- Lincoln-Mercury— &all, McCabe, Sloves, Inc. Ad Agencies/Headliners Volvo—Royal Composing Room BILL SCHWARTZ—Meldrum & Fewsmith ROBERTA COOPER— Bekins—Bohme & Blinkmann Kenyon & Eckhardt BILL SCHWARTZ—Meldrum & Fewsmith Boston Pops—Berkeley Typographers Bekins—Bohme & Blinkmann JOHN D'ASTO—Zechman & Associates BILL SCHWARTZ—Meldrum & Fewsmith Illinois Office of 7burism—RyderTypes Connections—Bohme & Blinkmann JOHN D'ASTO—Zechman & Associates TOD SEISSER- Illinois Office of 7burism—RyderTypes Levine, Huntley, Schmidt & Beaver PAUL DEBES- McCall's—Franklin/Arrow Perri Debes Looney & Crane SUE SHIRK—Stockton, West, Burkhart Shimando—Rochester/Mono Headliners The lams Company—Typoset Inc. SCOTT EGGERS- TOM SMITH—Wyse Advertising Richards, Brock, Miller & Mitchell Penton Publications—Bohme & IVAN HORVATH—N. W. Ayer BOB MEAGHER—Cramer/Krasselt Dallas Zoo—Southwestern Typographies Blinkmann Yamaha—Andresen Typographies Citicorp—RyderTypes • DAN FAUVER—Wyse Advertising JOE LA ROSA—Waring & LaRosa RAPHAEL MORALES— TOM SMITH—Wyse Advertising In House Job—Bohme & Blinkmann Cutex—Royal Composing Room Waring & La Rosa Industry Week—Bohme & Blinkmann KATHY FLETCHER- JEAN MARCELLINO- Fisher-Price—Royal Composing Room JOSE TAPIA—Ogilvy & Mather Foote, Cone & Belding Lord, Geller, Federico, Einstein CHRISTINE NEAL—Young & Rubicam Wagner Tool Ca —RyderTypes Sunkist—Andresen Typographies IBM—Royal Composing Room Rust-Oleum—RyderTypes OLIVER VERDON- BONNIE HAZELTON—McCann-Erickson BOB MEAGHER—Cramer/Krasselt CHRISTINE NEAL—Young & Rubicam Safronoff & Associates L'Oreal—Ad Agencies/Headliners Citicorp—RyderTypes Rust-Oleum—RyderTypes Puma—Societe de Creations Graphiques IVAN HORVATH—N. W. Ayer BOB MEAGHER—Cramer/Krasselt CRAIG arro—Ketchum, Inc. LLOYD WOLFE—Lawler Ballard Adv. Yamaha—Andresen Typographies Citicorp—RyderTypes Heinz—Headliners of Pittsburgh Raleigh 7echnium—Typoset Plus Inc.

They're the forty creative people who received an Young & Rubicam, which took Best-of-Show honors. And Award of Merit (or better) in ATA's 1985 Jean Marcellino's IBM entry for Lord, Geller, Federico, along typographic competition. with Simon Bender's Volvo ad for Scali, McCabe, Sloves, The competition was open to print advertising which which were both medalists. appeared between August, 1984 and July, 1985. But we were You can see this trio of outstanding print pieces—plus really looking for something special. Namely, those print ads the thirty-seven Merit-winners—later this year when the Top in which the use of typography clearly made a difference in 40 advertisements go on tour through North America, Europe the effectiveness of the selling message. and Australia. So watch for further details in these pages or at Singled out by the judges were three particularly your ATA typographer. It may be your only opportunity to striking examples: Mike Schell's Lincoln-Mercury ad from appreciate first-hand ATA's Greatest Hits of 1985.

Atlanta, Georgia Action Graphics, Inc. Bloomfield, Connecticut New England Typographic Service, Inc. New York, New York Advertising Agencies/Headliners; Royal Composing Room, Inc. Philadelphia, Boston, Massachusetts Berkeley Typographers, Inc.; Composing Room of New England; Typographic Pennsylvania Armstrong, Inc. Phoenix, Arizona Morneau Typographers, Inc. Pittsburgh, Pennsylvania House, Inc. Cedar Rapids, Iowa Type 2, Inc. Chicago, Illinois J.M. Bundscho, Inc.; RyderTypes, Inc. Davis & Warde, Inc.; Headliners of Pittsburgh, Inc. Portland, Oregon Paul 0. Giesey/Adcrafters, Inc. Cincinnati, Ohio Typo-Set, Inc. Cleveland, Ohio Bohme & Blinkmann, Inc. Columbia, South Carolina DG&F Rochester, New York Rochester Mono/Headliners San Francisco, California Mercury Typography, Inc. Typography Dallas, Texas Jaggars-Chiles-Stovall, Inc. Southwestern Typographics, Inc.; Typography Seattle, Washington Thomas & Kennedy; Typographers, Inc.; The Type Gallery, Inc. St. Joseph, Michigan Plus, Inc. Detroit, Michigan The Thos. P. Henry Company; Willens + Michigan Corp. Fort Worth, Texas Type House, Inc. St. Louis, Missouri Master Typographers, Inc. Montreal, Canada McLean Brothers, Fort Worth Linotyping Co. Grand Rapids, Michigan Acraforms, Inc.; The Type Source Houston, Texas Ltd. Toronto, Canada Cooper & Beatty, Ltd. Winnipeg, Canada B/W Type Service, Ltd. Amsterdam, Typografiks, Inc. Indianapolis, Indiana Typoservice Corporation Kansas City, Missouri Uppercase, Inc. Netherlands Ploeger Lettering BV Brisbane, Australia Savage & Co. Paris, France Societe De Los Angeles, California Andresen Typographics; Typographic Service Co., Inc. Memphis, Tennessee Creations Graphiques Gothenburg, Sweden Fototext/Typografen AB Solna, Sweden Progress Graphic Arts, Inc. Miami, Florida Wrightson Typographics, Inc. Minneapolis, Minnesota Headliners Graphic Group AB Zurich, Switzerland Typopress AG Frankfurt, West Germany Typo-Gartner of the Twin Cities/Graph-Tronics Inc.; Type House + Duragraph, Inc. Mission, Kansas. The Pica GmbH Stuttgart, West Germany Layout-Setzerei Stulle GmbH Place Newark, New Jersey Arrow Typographers, Inc. New Orleans, Louisiana Film-A-Graphics Advertising Typographers Association R.D. 3, Box 643, Stockton, New Jersey 08559. Walter A. Dew, Jr., Executive Secretary 57 To readers of 118,1c who employ design talent: We Invite Your Opinion

This survey is aimed at the art departments of Your participation allows you to play a role in America and the thousands of U&Ic readers planning the future of design education. So who are responsible for hiring and supervising please complete the questions and mail this entry-level art and design talent. It is our page back to us right away. The results of the second survey and part of an ongoing effort by knowledge and skills questionnaire will be The Design Schools to better prepare students published at a future date, and we will send to meet the needs of the professional world. you a complimentary copy.

Knowledge and Skills: Rate the relative impor- Essential tance of the following Very Important skills and qualities in an Important entry-level job candidate. Enter a number next to each Desirable item, using the scale given. Unnecessary

Specialized Print advertising Board Sketching/drawing Technical Stat machine Conceptual Design sense Brochures Skills Illustration — Skills Typositor Ability Pictorial sense Training Roughs Photography Color sense Corporate identity Layout cornping Darkroom Typographic sense ___ Magazines/publications Computer graphics Paste-up/mechanicals Multimedia Conceptual thinking — Type specing Video — Business sense TV storyboards Airbrush Originality Video production Marker rendering — Copywriting Displays/exhibits — Line art/spot drawings Packaging Book design Product illustration Cartooning Other Other Other Other

Neat and accurate General Art history Education Two-year Your List three U.S. schools Personal that you consider most Resourceful Writing skills associate degree Choice Qualities Knowledge (design skills and concepts) outstanding in the Accepts responsibility Graphic design history Liberal arts degree teaching of graphic Works well under pressure Knowledge of typefaces — design/ad design/ Skills/liberal arts combined — Meets deadlines Printing/production visual communications: Punctual Business and marketing principles Accepts supervision 2. Articulate Generally well informed Other Other Other 3

Your Views and Comments: In the space below, please write your thoughts and observations about design education in America.

Name Position Art Institute of Atlanta Art Institute of Dallas Company Nature of your work: D The Art Institute of Fort Lauderdale Number of employees Ad agency Printer Art Institute of Houston Art Institute of Philadelphia in design department Design studio Publication esign Number Art Institute of Pittsburgh Art Institute of Seattle Address Corporate art dept. Schools Colorado Institute of Art City State Zip Other The Design Schools are two-year, year-round art institutes that prepare students for the professional world of art, design and photography. At The Design Schools, educational Please complete questionnaire and mail to: programs are planned with the employer in mind. The schools, listed above, are together Edward A. Hamilton, Design Director the largest single source of employable art talent in the United States, with a combined The Design Schools, 101 Park Avenue, New York, NY 10178 33 daytime enrollment of over 9,000 students.

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,,, d,';,_ 11)0, t,y °0 9°( ''''0 <6 .7 d'C'''o r°('.9 '&6)'S' CG'S,, o41'° ,, V6<° 6 1-1, er 3- ' c,,s, -4,,, 0, < °I, 0 s o< °«‘ 'Po 4-0 o is o 3' 2.1), 66, ,<,‘. o),‹ (o.i, 0c,, <00 9p1 90 )',/ ,, % 1 d' 16 k, 17 10 <0 .* ts' <<• 0,0 t ks' ÷o 'Po 4c 6/‘4, ‘, -41r, 1<(‘.. c't PO 661:‘ ‘ -1 C,9 1! et •'; '94, -0 )‘ , ‘.' 0 it , -0 't (0 0 -t, '5, oo ei, Qo 1?,,, 0., ks, 1 -A -49 , 04 , ,7 c ‘',., S.c,, ., 00 ,s„, 0 1- 00 ',, 0 v 00 ' ts, -71, 0 0 e.$) * % '44. -90 si, - 0 t, t 6--y IL 06)1, 4-o 6-..71A 0-oev 00 St 0;1,<<,, bc9 1;1' 17' 00 "Ce. ' PO C'0 cO < 0 1 - es '`-'5) c)i‘ cs ° °o '''s. ep 4i , 0' C, ( <0, 4gcs 6i- 4'10 i, (0 &,, l& A <■", < •S• 1- r) '3›, @1985, AM International, Inc. 19 ''5 -5,<, x, 0,, <90 0 AM and Varityper are registered trademarks 1, IC, of AM International, Inc. -5- lo 0 ‘z,,,, //\ 99 & .2, -7 -Vj_ 9C 090 9('0 9 -7s ), < «,4, s9 «s-P,, A- • - t THE SPICE OF LIFE

In the pursuit of happiness, Varityper offers endless variety. When designers stand in their kitchens to whip up something special, they revel in one of the world's most respected libraries of type styles. Zesty favorites like the Classic Series are as basic as salt and pepper. Who doesn't use salt and pepper? There are the ITC faces to add character and piquancy—a dash of Benguiat, a sprinkle of Zapf! More subtle, perhaps? Stir in faces as soft and as delicate as nutmeg or add just a pinch of the exotics—rare, exciting, mysterious. Our basic ingredients are sound and wholesome. The unique Spirascan imaging system assures smooth edges and round curves at any point size and the resulting fare is fit for the most discriminating type gourmet. Stir, fold, whip, simmer, saute', bake and serve: piece de resistance graphique.

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, t, -Vs_ -v),`.:../1) "1" 6'1', 44 -9, N, '1, Q wo -.) 4. o 4, e 9 lz '), (:, c<' r & -s, q.6. ti <1 9,_ t cc o ( ep,s, Send me your free information: o ''0 lif lc` 9 :10 (.0 l'ix. ((, 'PI - I- << ❑ I'd like to see your wide typeface selection. Please send me your '1,b0 '9')? s÷0 i' <(` 0 0 digital library wall chart. o o 0), (0 0 <0 -‘7 ,i- 0 (, ❑ .o 0...1- ( /s• -9 I'd like more information on Varityper equipment. Please have a sales 0,45 0,0 0 ).- -9 ....C, el., <9 (<(, -Vt. representative call. 0'9 0), <90 <55 '5' O G 0 ,1-, k, ^70 ÷. cc" -17„›. 9,_ e0 Mail coupon to: +), -94 Iv -'5' , .7"%. ‹v4 , oi..'I' Varityper ,■ sroo I-i 1p (or 11 Mount Pleasant Avenue 4(<, l'cb 0 0 East Hanover, New Jersey 07936 o 0 CSCtS'

61 John Gibson supervised fine typography at Young & Rubicam New York for many years. He is now VP-Manager of Graphic Services at MacLaren Advertising, Toronto. john Gibson offers ten suggestions on typography.

Thou shouldst remember that Thou shouldst not fall in unseemly words are meant to be read. love with new faces. Words are precious tools, capable of changing New type faces give vitality to communication. a stubborn mind or winning a reluctant heart. They But remember, the human eye is a traditionalist. are not merely a design element, or a good-looking It is most comfortable with what it literally went block of grey. to school with.

Thou shouldst READ thy copy Thou shouldst be prepared for a before having it set. sea of revisions. Only by doing so can you know what the words Ads get Alf4ktkfevised- changed a lot. are trying to do. Are they trying to shout or cajole? Make sure your typographer offers equipment Are they talking to punk rockers or geriatrics? All which responds quickly to the need for change, as this affects what you do with those words. well as clarity and beauty.

Thou shouldst consider the Thou shouldst treat thy typographer context of thy communication. as a brother, and consult him early. Is it a full page, or is it competing with other His experience can save you from a thousand ads on the same page? Is it going on white maga- pitfalls. Does the font you want include SMALL zine stock or grey newsprint? Is the publication CAPS? Are you trying to take a face that's exclu- word-heavy or picture-heavy? Do you know? Do sively ROMAN and slope it into italic? Did you you care? know that an upside-down British pound sign makes an excellent swash Y? Your typographer Thou shouldst not make thy lines knows, and what he knows will help you. too long, nor too short, either. The eye is worn out by lines that go on and on and on and on and on and on and on and on and on and on and But too short Thou shouldst know all the rules, lines and then be prepared to break them. are ir- Nobody ever would have heard of Newton or ritat- Galileo or Picasso or Einstein if they'd stuck to ing. what they were taught. But because they knew the rules, they knew where to look for something Thou shouldst guide the eye, and better. allow it space. The eye moves back and forth more or less At Berthold-Alphatype we make typesetting like an old typewriter carriage. It needs room be- equipment for those who will not settle for less tween the lines to find its way back ; and it wants than the best. a firm left edge to the type, to get it started again. We also offer the complete and exclusive Berthold Type Library, setting the standard for Thou shouldst not admire thy style and clarity throughout the world. work from a distance. Our goal is the proper combination of modern Most communication is meant to be seen from technology with old-fashioned virtues like reliability and good taste. less than two feet the length of the human arm). We design and build our machines and our Don't judge it by hanging it on a wall, unless it's reputation in the same way. To last. meant to wind up there. Berthold-Alphatype FOR FURTHER INFORMATION ON OUR PRODUCTS AND SERVICES, PLEASE TELEPHONE: NORTHERN CALIFORNIA (415) 872-2924, GEORGIA (404) 449-5515, ILLINOIS (312) 965-8800, SOUTHERN CALIFORNIA (213) 217-0249, NEW YORK (212) 594-3970, TEXAS (214) 350-7891, VIRGINIA (703) 442-9555. IN CANADA, VANCOUVER (604) 684-2841, CALGARY (403) 276-5762, TORONTO (416) 475-8570, MONTREAL (514) 336-1440. 62

Aachen Medium .' Aachen Bold' Alternate Gothic 3 Amazonia ITC American Typewriter Abbey Adroit Light' Adroit American Gothic Light Greek Medium 3 ITC American Light Italic' Adroit Medium' American Gothic Light Italic Typewriter Greek Bold 3 ITC Adroit Medium Italic' Adroit American Gothic Medium American Typewriter Greek Bold' Adroit Extra Bold' American Gothic Medium Medium Condensed3 ITC Aharoni Hebrew Aharoni Italic American Gothic Bold American Typewriter Greek Hebrew Mirrored Aharoni ITC American Typewriter Light 3 Bold Condensed 3 Antique No Hebrew Bold Mirrored ITC American Typewriter 1 Antique No 1 Italic Arabic Aharoni Hebrew Outline Medium 3 ITC American Simplified Light Arabic Mirrored Aldostyle Aldostyle Typewriter Bold 3 ITC American Simplified Bold Arabic Bold Aldostyle Extended Typewriter Light Condensed 3 Traditional Light Arabic Aldostyle Bold Extended ITC American Typewriter Traditional Bold Artcraft Aldostyle Condensed Aldostyle Medium Condensed 3 ITC Artcraft Bold Ascot Ascot Italic Bold Condensed Alternate American Typewriter Bold Ascot Book Ascot Book Italic Gothic 1 Alternate Gothic 2 Condensed 3 Ascot Bold Ascot Bold Italic Ascot Extra Bold Aster Aster Italic Aster Bold Aster Bold Italic Aster Greek Aster Greek Italic Aster Greek Bold Athena Athena Italic Athena Medium Athena Medium Italic Athena Bold Athena Bold Italic Athena Black Athena Black Italic Athena Greek Athena Greek Italic Athena Greek Bold ITC Avant Garde Gothic Extra Light3 ITC Avant Garde Gothic Extra Light Oblique3 ITC Avant Garde Gothic Book 3 ITC Avant

Initial letter from Autologic's Champ Fleury Garde Gothic Book Oblique3 Constructed Initials. ITC Avant Garde Gothic Medium 3 ITC Avant Garde Gothic Medium Oblique 3 ITC Avant Garde Gothic Demi Bold 3 ITC Avant Garde Gothic Demi Bold Oblique3 ITC Avant Garde Gothic Bold 3 ITC Avant Garde Gothic Bold Oblique3 ITC Avant Garde Gothic Book Condensed 3 ITC Avant Garde Gothic Medium Condensed 3 ITC Avant Garde Gothic Demi Bold Condensed3 ITC Avant Garde Gothic Bold Condensed3 63

Ballardvale 2 Ballardvale 2 ITC Benguiat Gothic Book3 ITC Bodoni B Bold Italic Bodoni Italic Ballardvale 2 Bold Benguiat Gothic Book Italic 3 ITC B Black Bodoni B Black Italic Ballardvale 2 Bold Italic Benguiat Gothic Medium 3 ITC Poster Bodoni Poster Bodoni Ballardvale 2 Condensed Benguiat Gothic Medium Italic 3 Italic ITC Bolt Bold 3 Bookman Ballardvale 2 Bold 3 ITC ITC Benguiat Gothic Bold Antique Bookman Antique Condensed Balloon Extra Bold Benguiat Gothic Bold Italic 3 ITC Italic Bookman Antique Bold Bank Gothic Medium Benguiat Gothic Heavy3 ITC Bookman Antique Bold Italic ITC Barcelona Book3 ITC Benguiat Gothic Heavy Italic 3 ITC Bookman Light3 ITC Barcelona Book Italic3 ITC 3 ITC Berkeley Old Style Book Bookman Light Italic 3 ITC Barcelona Medium3 ITC ITC Berkeley Old Style Book Bookman Medium3 Barcelona Medium Italic 3 Italic3 ITC Berkeley Old Style 3 ITC Bookman Medium Italic 3 ITC ITC Barcelona Bold Medium 3 ITC Berkeley Old 3 ITC Bookman Demi Bold Barcelona Bold Italic3 Style Medium Italic 3 ITC ITC Bookman Demi Bold 3 ITC ITC Barcelona Heavy Berkeley Old Style Bold 3 ITC Italic3 ITC Bookman Bold3 Barcelona Heavy Italic3 HAAS Berkeley Old Style Bold Italic 3 3 ITC Bookman Bold Italic Basilia2 HAAS Basilia Italic2 Boston Script Britannic 2 HAAS Basilia Medium Britannic Bold Broadway 2 HAAS Basilia Medium Italic Broadway Engraved Brush Baskerville 2 Baskerville 2 Italic Script Bulmer Bulmer Italic ITC Baskerville 2 Bold Baskerville 2 Busorama Bold 3 Bold Italic Baskerville 800 2 2 Baskerville 800 Italic 2 Baskerville 800 Medium 2 Baskerville 800 Medium Italic 2 Baskerville 800 Bold 2 ITC Baskerville 800 Bold Italic New Baskerville Book3 ITC New Baskerville Book Italic 3 ITC New Baskerville Semi Bold3 ITC New Baskerville

Semi Bold Italic3 ITC New Initial letter from Autologic's Melencolia Baskerville Bold 3 ITC New Constructed Initials. Baskerville Bold Italic 3 ITC New Baskerville Black3 ITC New Baskerville Black Italic 3 AUTOLOGIC Bauen Schrift Bauen Schrift Medium Bauen Schrift Bold ITC Berkeley Old Style Black 3 Bauen Schrift Black ITC ITC Berkeley Old Style Black Bauhaus Light3 ITC Bauhaus Italic3 Bernhard Tango Beton Medium3 ITC Bauhaus Demi Bold Beton Extra Bold Beton Bold 3 ITC Bauhaus Bold 3 Belwe Bold Condensed Binny Old Light, Belwe Light Italic4 Belwe Style Binny Old Style Italic Bison Medium4 Belwe Bold 4 Belwe Bodoni 2 Bodoni 2 Italic Condensed 4 Bembo 2 Bembo Bodoni 2 Book Bodoni 2 Book 2 Italic Bembo 2 Bold Bembo Italic Bodoni 2 Bold Bodoni 2 2 Bold Italic Bembo 2 Black Bold Italic Bodoni 2 Bold ITC Benguiat Book3 ITC Condensed Bodoni 2 Benguiat Book Italic3 Campanile Bodoni B Bodoni 3 ITC ITC Benguiat Medium B Italic Bodoni B Bold Benguiat Medium Italic3 ITC Benguiat Bold3 ITC Benguiat Bold Italic3 ITC Benguiat Book Condensed 3 ITC Benguiat Book Condensed Italic3 ITC Benguiat Medium Condensed 3 ITC Benguiat Medium Condensed Italic 3 ITC Benguiat Bold Condensed3 ITC Benguiat Bold Condensed Italic 3 64

Candide Candide Italic Chaim Hebrew Condensed Clarendon 2 Oblique Candide Medium Candide Mirrored Champ Fleury Titling Clarendon 2 Demi Bold Bold Caslon 2 Caslon 2 Italic Champ Fleury Initials Chapel Clarendon 2 Bold Clarendon 2 Caslon 2 Bold Caslon 2 Bold Script Chelsea Light Chelsea Black Clarendon 3 Light Italic Caslon 2 Black ITC Medium Chelsea Black Clarendon 3 Clarendon 3 Caslon No 224 Book 3 ITC Cheltenham Cheltenham Italic Medium Clarendon 3 Bold Caslon No 224 Book Italic 3 ITC Cheltenham Medium Clarendon 3 Black Clarendon Caslon No 224 Medium 3 ITC Cheltenham Medium Italic 3 Condensed Clarendon 3 Caslon No 224 Medium Italic 3 Cheltenham Bold Cheltenham Bold Condensed Clarinda 3 ITC ITC Caslon No 224 Bold Bold Italic Cheltenham Bold Typewriter Clarizo Clarizo Caslon No 224 Bold Italic 3 Condensed Cheltenham Bold Italic Clarizo Bold ITC ITC Caslon No 224 Black 3 Condensed Italic Cheltenham Clearface3 ITC Clearface Italic 3 ITC Caslon No 224 Black Italic 3 Nova Cheltenham Nova Bold 3 ITC ITC Clearface Bold Caslon Caslon 3 Caslon 3 Italic Cheltenham Old Style Clearface Bold Italic 3 ITC 540 Caslon 540 Italic Caslon Cheltenham Old Style Italic Clearface Heavy3 ITC Clearface Antique Caslon Antique Heavy Italic3 ITC Clearface Italic Caslon Openface Black3 ITC Clearface Black Catalina Catalina Italic Italic3 Clearface Gothic Celestina Celestina Italic Clearface Gothic Italic Celestina Bold Century 11 Clearface Gothic Demi Bold Bold Century II Bold Italic Clearface Gothic Bold Century II Bold Condensed Clearface Gothic Extra Bold Century Expanded Century Cloister 2 Medium Cloister Expanded Italic Century 2 Bold Cloister 2 Bold Italic Expanded Bold Century Cochine Cochine Italic Cochine Expanded Bold Italic Bold Cochine Bold Italic Cochine Black Cochine Black Italic Commercial Script Computer Modern TEX Fonts Congress Congress Italic Congress Medium Congress Initial letter from Autologic's Geometrica Constructed Initials. Bold Congress Heavy Continental Script Cooper 2 Black Cooper 2 Black Italic AUTOLOGIC Copperplate Gothic Copperplate Gothic Bold Century Nova Century Nova ITC Cheltenham Light 3 ITC Copperplate Gothic Extended Italic Century Nova Bold Cheltenham Light Italic 3 Copperplate Gothic Bold Century Schoolbook Century 3 ITC ITC Cheltenham Book Extended Copperplate Gothic Schoolbook Italic Century Cheltenham Book Italic 3 ITC Condensed Copperplate Schoolbook Bold Century Cheltenham Bold 3 ITC Gothic Bold Condensed Schoolbook Bold Italic ITC Cheltenham Bold Italic 3 Corvina Corvina Italic Century Light3 ITC Century ITC Cheltenham Ultra 3 ITC Corvina Medium Corvina Light Italic3 ITC Century Cheltenham Ultra Italic 3 Bold Cosimo Script Courier Book3 ITC Century Book ITC Cheltenham Light Typewriter Craw Modern Craw Italic3 ITC Century Bold 3 ITC Condensed3 ITC Cheltenham Modern Bold Criterion Light' Century Bold Italic 3 ITC Light Condensed Italic 3 ITC Criterion Light Italic , Century Ultra 3 ITC Century Cheltenham Book , Criterion Criterion Book Ultra Italic 3 ITC Century Condensed3 ITC Cheltenham Book Italic , Criterion Light Condensed 3 ITC Book Condensed Italic3 ITC Medium' Criterion Bold , Century Light Condensed Cheltenham Bold , ITC Criterion Extra Bold Italic3 ITC Century Book Condensed3 ITC Cheltenham Cushing Book 3 ITC Cushing Condensed3 ITC Century Bold Condensed Italic 3 ITC Book Italic3 ITC Cushing Book Condensed Italic3 ITC Cheltenham Ultra Medium3 ITC Cushing Medium Century Bold Condensed 3 Condensed3 ITC Cheltenham Italic 3 ITC Cushing Bold 3 ITC ITC Century Bold Ultra Condensed Italic3 Cushing Bold Italic 3 ITC Cushing Condensed Italic 3 ITC Chelvet Greek Light Chelvet Heavy3 ITC Cushing Heavy Century Ultra Condensed 3 Greek Chelvet Greek Italic Italic3 ITC Century Ultra Chelvet Greek Bold Chelvet Condensed Italic3 Chaim Greek Condensed Chelvet Hebrew Chaim Hebrew Greek Medium Demi Mirrored Chaim Hebrew Condensed Clarendon 2 Condensed

~~The ABC's of Autologic's typographic library represent only a fraction of the more than 1,500 digital fonts available for use with our advanced imagesetting equipment.~~

From Aachen 4 to ITC Zapf International 3 we offer the latest designs from sources including Alphabet Innovations, Haas NOW Typefoundry, International Typeface Corporation, Letraset, TypeSpectra, and World Typeface Center. Exclusive Autologic designs include YOU Media, Signa, Kis-Janson, and our recently introduced titling and initial letter fonts Geometrica, Melencolia, and Champ Fleury. KNOW The goal of Autologic's typographic development program is to produce an ever expanding range of digital letterforms for use in all OUR segments of the graphic arts publishing industry; from technical documentation to commercial typography, from Ea newspapers to books. Our continuing commitment is to provide the highest quality letterforms coupled with superior output technology to facilitate the design and production of graphic communications. In short, a fusion of Typographic Art & Science. AUTOLOGIC Corporate Headquarters Autologic Inc. 1050 Rancho Conejo Blvd. A subsidiary of Newbury Park, CA 91320 Volt Information Sciences, Inc. Tel. (805) 498-9611-USA ' Under license from TypeSpectra. Fax: (805) 498-9611

2 Under license from Haas Typefoundry. International Headquarters Autologic S.A. 3 Under license from International A subsidiary of Typeface Corporation. Av. des Boveresses 44 Case postale Volt Information Sciences, Inc. 4 Under license from Letraset Limited. CH-1010 Lausanne 10 Switzerland Tel. 021 33 51 33 Tx 459 539 auto ch This advertisement was composed on the APS Microcomposer and imaged on the APS Micro-5 using Haas Unica 2 Light, Regular, Bold, & Black and Signa Roman. 66 Mergenthaler Every face reflects the character

~~- ..II.~~

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~~ill~~

frieliglx)whaliand® Memphis® ckezyrted .ffactizezo-eaptet, designed by Rudolf Wolf Jar- for Mergenthaler (%e,- LOA arL &yArA, toptthy maNtei- and The earliest modern revival of the aatitot-e`ghe (9-penz'd" Egyptian style typefaces, Memphis was named CAark8,tinell conducted cr virulent cazt- designed by Rudolf Wolf for Mergenthaler l'ati watizst t ove,--elanorate.On (01)/(ithig. between 1929 and 1933. The lower case glirifoetridee&ti,tAathit at the thne threatened features an adoption of the slab serif. the e&iveitejeomnitinicatioit. (ineitcukocateci There are optional a's, f's and t's, allowing stwnclawdraeOr yym iette/w, /vitas/ toitie4 a choice of slabs and serifs. Memphis is lat,erfacilitated (9,e..ot. available in four weights, roman and italic _rz °Mei. e e cm. e neii and condensed versions. tin cilia/1d tit a With Linotype Laser Fonts, Wolf's tirow-AotMe_fave.= gimt& 8 ,9ive,you the Egyptian classic is preserved in all its szinplie# that/weds/no elczoopatiovt tit( f;iell splendor as Mergenthaler Memphis. glwaralictia.

~~Mergenthaler, Linotype, Snell Roundhand, Memphis, Stempel Schneidler, ALLIED 67 Masterpieces. of the world's finest type library.~~

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~~Stempel Schneidler® Spartan® based on the works of Ernst Schneidler designed by C.H. Griffith for Mergenthaler. for Mergenthaler.~~

Born in 1882, Ernst Schneidler ranked The most widely used lineale in the United among the most notable book designers, States, Spartan was designed in 1936 by designer calligraphers and type designers of the first half C.H. Griffith. The face is a composite design of two of this century. He designed some twenty other well known faces, Erbar Grotesk and typefaces, including Schneidle,r-Mediaeval, a Neuzeit Grotesk. Spartan is available in several face felt to reflect the pure tradition of the weights. humanist style. Based on careful study of this And Linotype Laser Fonts give you the basic face and his Amalthea Italic, D. Stempel AG beauty of Griffith's lineale with Mergenthaler created a whole family for the Mergenthaler Spartan. library. The Stempel Schneidler family lends For more information on Linotype Laser Fonts, itself to almost all typographic uses. or the Linotype Mergenthaler Digital Typeface And in Linotype Laser Font, the Stempel Directory, write to Linotype Company; Schneidler family preserves the ideas and 425 Oser Avenue, Hauppauge, NY 11788. qualities which made the original typefaces Or call toll free (800) 645-5764. dear to typographers. (In New York (800) 832-5288.)

~~Spartan and Laser Font are registered trademarks of Allied Corporation. Linotype Company 68~~

Aldus Type Studio Alphabet Shop Alpha-Graphix Arrow Typographers Better Graphics, Inc. Bradford/Will Graphics Los Angeles, California Atlanta, Georgia Los Angeles, California Newark, New Jersey Crystal Lake, Illinois Denver, Colorado 213-933-7371 404-892-6500 213-388-0401 201-622-0111 815455-3830 303-233-9128 bid have to be nuts to go glace else.

GMF Incorporated/ Gorman's Typesetting, Inc. Granite Graphics Graphic Composition Great Faces, Inc. Harlowe Typography, Inc. Letterworks Bradford, Illinois New York, New York Menasha, Wisconsin Minneapolis, Minnesota Cottage City, Maryland Arlington, Virginia 309-897-4051 212-772-0364 414-739-3152 612-339-2933 301-277-8311 703-527-0934 Rutherford, New Jersey 201-438-7398

Monotype Composition Co. Mono Typesetting Newark Trade Omnicomp Paul 0. Giesey/Adcrafters Perfect Type Boston, Massachusetts Bloomfield, Connecticut Typographers Palo Alto, California Portland, Oregon Tucson, Arizona 617-269-4188 203-242-3006 Orange, New Jersey 415-326-5960 503-226-3943 602-327-3705 201-674-3727 San Francisco, California 415-398-3377

Skil-Set Typographers Spectrum Composition Stamford Typesetting Techni Process Limited The Advertising The Firm of Los Angeles, California New York, New York Stamford, Connecticut Thronto, Ontario Factory, Ltd. Christopher Wren 213-749-8066 212-391-3940 203-327-1441 416-363-2493 Las Vegas, Nevada Costa Mesa, California 702-382-9090 714-540-0801

"N*1 Typeworks of Dallas, Inc. Typographical Service Typographic Service Typography Plus Typotronics Typesettin' Inc. Dallas, Texas Fort Lauderdale, Florida Los Angeles, California Dallas, Texas St. Louis, Missouri Wooddale, Illinois 214-631-7006 305-772-4710 213-749-8383 214-630-2800 314-647-8880 312-595-0966 Typographers For more information and a complete listing of all the characters in TIA contact Typographers International Association, 2262 Hall Place NW, Washington, DC 20007 W( Brooks Typography Central Typesetting Chiles & Chiles Classic Typographers, Inc. Communication Arts, Inc. Composition Systems, Inc. Lafayette, California Detroit, Michigan Dallas, Texas Chicago, Illinois Birmingham, Alabama Falls Church, Virginia 415-284-2910 313-961-7171 214-690-4606 312-889-5700 205-251-6642 703-237-1700

Computer Typesetting County Photo Compositing DeLine-O-Type, Inc. Design & Type, Inc. DG&F Typography Dix Type Inc. of Canada Southborough, Massachusetts Orange, California San Francisco, California Columbia, South Carolina Syracuse, New York Toronto, Ontario 617-480-0205 714-639-2562 415-495-6280 803-799-9140 315-437-9925 416-593-6942

Eastern Typesetting Elizabeth Typesetting etCetera Typography E B Typecrafters Fort Worth Linotyping Co. General Typographers Hartford, Connecticut Kenilworth, New Jersey Orlando, Florida Denver, Colorado Fort Worth, Texas Washington, D.C. 203-528-9631 201-241-6161 305-841-0384 303-294-9240 817-332-4070 202-546-1400

Hi-Speed/Advertising Holly Typesetting Marathon Typography Marchese Graphics Metro Typography Mobigraphics Typography North Hollywood, California Durham, North Carolina Los Angeles, California Santa Cruz, California Chicago, Illinois Los Angeles, California 818-764-1868 919-493-7445 213-937-1517 408-429-1969 312-944-5585 213-748-0411

Phototype House PolaGraphics Porter Graphics, Inc. Rapid Typographers ROC/SOC Marketing, Inc. Shore Typographers, Inc. Los Angeles, California Vancouver, B.C. Santa Ana. California San Francisco, California New York, New York Chicago, Illinois 213-933-9124 604-685-6592 714-558-1947 415-982-6071 212-243-4982 312-944-6650 11, v„ry:

The Typesetter The Type Gallery Trade Typographers Typesetting Service Type House + Duragraph Type & Stat Place Denver, Colorado Seattle, Washington Washington, D.C. Cleveland, Ohio Minneapolis, Minnesota Dallas, Texas 303458-8973 206-285-6333 202-667-3420 216-241-2647 612-588-7511 214-951-0341

U.S. Lithograph, Inc. Versa Type Weimer Typesetting Williams Graphic Service Woodland Graphics York Typographers Inc. New York, New York Torrance, California Indianapolis, Indiana Wakefield, Massachusetts Bedford, Massachusetts Don Mills, Ontario 212-673-3210 213-539-1611 317-635-4487 617-246-1310 617-275-1600 416-445-3830 International Association set the standards' (202) 965-3400. © 1985 Typographers International Association, Cartoon Characters © Polo 70 If you like black 8z white,

~~All illustrations are direct reproductions of output from the Lightspeed Qolor system. 71 you'll love b:ghtspeed Qolor. It's simple. It's simple.~~

Color is vital to the graphic Qolor contains an infinite arts. And the Lightspeed supply of the tools and Qolor system is a necessity materials you use every day: for the serious graphic type, stats, color prints, designer. Qolor is the first paper swatches, masks, full-color image design overlays, paints, brushes. system to combine digital And Qolor works the way technology and traditional you work, with features methods to produce slides, that let you cut, paste, scale, print, and video. zoom, composite, and paint with dozens of Qolor cuts production costs, typefaces, millions of colors, speeds up workflow, and and high-resolution shortens the time you need photographic images. to turn the light bulb over your head into a finished Best of all, Qolor is as easy project. Whether it's color to use as it is versatile. You'll comps, slides, illustrations, be able to produce useful or reproductions, Qolor and valuable full-color If you like our black and keeps you in the black. originals after a single day white images, you'll love of training. them even more in Qolor. Call us for literature or a demonstration. It's simple.

~~Lightspeed Finger—for selecting and using tools. 303 Congress Street Boston, Massachusetts Triangle—for horizontal alignment. 02210 617 338-2173 Loupe—to magnify up to 400%.~~

~~New York Area Sales T-square—for vertical alignment. 407 Park Avenue South New York, New York Tabouret— to store type, pictures, paint, 10016 gradations, grids... 212 213-0140~~

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Well, yes and no. business it is to convince you to buy some of that Yes, they're alike because inks and solvents and technology for home use. Sort of an over-the-counter certain other materials are mainstays of every system. "kit" so you can do it yourself and save money. And no, they're not alike when you check out Well, an Identicolor franchise is not a kit. And it's some of the intangibles. Not the least of which is not sold at your art supplies retailer with batteries quality of product. not included. Nor can it be set up behind the water Like the quality of the multicolor proofing job you cooler in your office because the EPA has strict stan- get from your neighborhood Identicolor studio. Now dards of ventilation relating to the use of toxic and there's a product at the very top of its game. But how sophisticated Identicolor materials. can this be so (you ask) in an industry where systems And just supposing you had such a set-up for pri- are supposedly alike? vate use, what could you get to take the place of an Well, this is so (we reply) because with this system, Identicolor professional? A set of instructions? color-imaging is carried out by a skilled Identicolor And finally, what's the saving of a few dollars when technician operating from a uniquely-equipped weighed against the best multicolor transfers in Identicolor facility. Giving you the sure hand that the business? only the best training and technology can buy. Identicolor. State-of-the-art proofing. Of course, there are companies out there whose Some things are just more equal than others.

~~IDENTICOLOR All The Proof You Need Multicolor Direct Proofing • Multicolor "Multi/cal" Transfers • Multicolor "Multi/foil" Metallic Transfers~~

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aG he 11 From coast to coast, more and more wpcsct ting shots arc offering viFt_ally - every design fro:ii Compu_grapnic Corporation's extensive library of digital -yzoo*Whethcr you're loot- ing for Bodoni in the Big Apple or 0:iiega in Os ic)sh, you can choose from up to 1500 of -L-1 'lost versatile and acclaimed_ yp c oesigns in use today The Com-o-ugraphic wype library not only features the industry standards and favorites, but also the corn-

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Baskerville Captured in Xerox *Electronic Printer Last Friday, world famous John Baskerville was found rummaging through 256K memory boards harassing integrated circuits. This was in spite of rumors that he had been forced into retirement because of an allergic reac- tion to design marker fumes. Xerox *EP users became suspicious the week before, when footprints and neatly scrawled incoherent messages had been found scattered throughout sensitive documents. Accusations were flying as the scandalous activity persisted. g.62

Local authorities were notified. While in a hypnotic state, Baskerville They surrounded the printer on admitted to being haunted by ghosts Friday night, demanding the sus- of Morris Benton, Giambattista Bo- pect to surrender peacefully. Ac- doni, and Elvis Presley. Continuing cording to an eyewitness, "When research into the miraculous story has he (Baskerville) refused, they led scientists to believe that his tale used tear gas to flush him out." may have an affect on the yet un- born type designers of the future. Evidence of Baskerville's bizarre lifestyle was confiscated at the Public interest in the case has forced scene. A stylish living room set, that the printer be re-zoned immedi- matching Ferrari roadsters, several ately and that Baskerville be released sequin suits, and eight Merg font from custody. He and the eight Merg families were removed from the font families have returned to the print- printer. The suspect was charged er, where they plan on remaining. with possession of goods and residing in a printer not zoned for housing. —Staff Reporter

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XEROX Corporate Font Center A3-23 The Xerox Mergenthaler font samples shown here were originally 701 So. Aviation Blvd. printed on a Xerox 9700 EPS. El Segundo, CA 90245 (213) 536-9721 Character forms are stored within Xerox electronic printers at 300 spots per inch and imaged electronically, upon demand. Each Baskerville 300TM is a trademark of Allied Corporation. page of output is a xerographic original. For more information about Xerox electronic printer fonts, please write or call. Xerox is a trademark of Xerox Corporation.

79 Exclusive Discount Offer for Visual Communicators! Special Introductory Subscription Rates on 2 Graphic Design Magazines conceived, planned, and edited for you! Save almost 40%. Subscribe Now to Save over 40%. Subscribe Now to HOW • • •The Magazine of Print America's Graphic Ideas and Technique in Graphic Design Magazine and get your FREE Design and get your FREE copy copy of DESIGNER'S GUIDE TO of DESIGNER'S GUIDE TO COLOR COLOR Vol. 2 — a $9.95 value. Vol. 1 —a $9.95 value. future directions. You'll see what is taking place in advertising and graphic design, illustration and photography, Learn about the new pre-press corporate identity, typographic design, graphic techniques television, film, computer aided design You'll deal with problem-solving areas and much more. you have not yet explored. Whether you're starting out in the field or are Interprets the impact of new design already an experienced professional For over 47 years, the best editorial you'll be opening future doors by under- sources in America and around the world standing the new technical develop- have been tapped to bring the finest ments—computer graphics, digitized graphic design currently being produced. The new how-to magazine for graphic typography, color scanners, etc. and ere is #1 show case for the newest You'll experience design that is on the I designers everybody is talking how they can help you get better results H and best in visual communication cutting edge. Through superb editorial about. It's the first and only magazine often in less time and for less money. from all over the world. PRINT offers a coverage and lavish illustrations—all that will "keep you in the know" of the steady flow of inspiring features on every in full color—you will be enjoying the creative process and let you actually Offers in depth treatment articles facet of graphic design that will stimu- most original, candid and readable share the vicarious experience of famous HOW . . . talks to you. You are there late your critical thinking and bring forth graphic design magazine published artists. experiencing how successful designers your graphic excellence. today. think, how they see, how they work. Visit the world's top designers Whether you're a one person studio, a Keeps you current on what is Subscribe now and receive the big PRINT's Regional Design Annual '86 You'll visit their studios, you'll look over free lancer or working in a multi-staffed happening in design their shoulders as they create and you'll agency you'll always find profitable PRINT is the one magazine that gives The most unique idea stimulator you get their ideas on how to tackle your design presentations, production know- you up-to-date ideas and concepts and can find. It has been called ... the bible most challenging design problems. You'll how, and technical information not cur- how they are given visual expressions. of the industry ... the nicest, the best get frequent "guided" tours of the ate- rently dealt with in any other magazine Thought provoking coverage offers you and most interesting annual of them all liers of famous illustrators and photog- in your field. insight into today's graphic trends and ... it opens a door to some rarely seen raphers. You'll see how these great innovative work ... it shows how much professionals work on important assign- sophisticated design is being done all ments for major advertisers, agencies over the U.S.A. and publications. . . . the best guides to the Covers the entire country Presents in six separate editorial sec- Answers your "how" questions use of printed color. tions all the major regions of the country: about graphic design Over 400,000 copies sold The Far West • The Southwest • The You get answers quickly in How . . world wide. Midwest • The South • The East • New because it describes in easy-to-under- Each volume combines 90 basic colors York City. You'll be able to track the stand text and step-by-step illustrations with 10 or 20 screens creating an ency- fascinating shifts in design activity how graphic designers, illustrators, pho- clopedia of innovative color schemes. throughout America —and see particu- tographers create their design and pic- Complete with screen percentages for lar characteristics, development and tures. You'll be taken from original the purpose of reproduction. Useful to trends that exist from region to region. concept and thumbnails, through roughs anyone who needs to confirm color ideas, or to find color combinations, sugges- and mechanicals, to the finished pieces. tions and examples, presented in a Discover how new processes, tools and DESIGNER'S GUIDE TO COLOR 1986's Annual will be the biggest yet straight forward way. Vol. I Over 1,000 two and three Over 350 pages, large 9 x 12 format of materials are used by today's successful Each volume a $9.95 retail value. Yours full-color combinations for color over 1,500 superb visual examples—all visual communicators. Free when you enclose full payment now in color—done by talented people who to How . . . and PRINT or charge the design choices modest price of your Special Introduc- Vol. II Over 1,000 color combina- create the images seen in the mass media tory Subscriptions on VISA, MasterCard tions for color design emphasizing ... a value of $25.00—you'll receive it or American Express! tints, pastels and color tones. as part of your subscription to PRINT.

111=MIMI=1111=M=1=====111•111M1=MIIMIIIMIIONNIBIIM=MIIMUINNIMMIUMB=IIMIIIIM= 11•0 MM=IIMrn=1.1.1 1= 01M I•1=l 1= 1=11===•1 Cut out and mail today Order both magazines and we will send you DESIGNER'S GUIDE TO COLOR, Vol. 1 & 2— a $19.90 value for FREE.

Mail to: RC Publications, ❑ YES, I want both magazines. Please enter my subscription 6400 Goldsboro Road, to PRINT + HOW ... at the special introductory combined Bethesda, MD 20817 price of $55.00 (Newsstand Price $79.50). Rush my FREE copies of DESIGNER'S GUIDE TO COLOR, Vol. 1 & 2 ( $19.95 value). GUARANTEE Name ❑ I want only HOW . . . Please enter my subscription at the (please print) Our promise is simple. HOW ... Special Introductory Price of $24.00. (Newsstand Price and PRINT must work for you. $27.00). Rush my FREE copy of DESIGNER'S GUIDE TO Title Anytime they do not live up to COLOR 1 ($9.95 value). your expectations let us know. Company Phone ( Please enter my subscription at the You'll promptly receive a full re- El I want only PRINT. Special Introductory Price of $34.00. (Newsstand Price fund on all unmailed issues, no Address $52.50). Rush my FREE copy of DESIGNER'S GUIDE TO questions asked. COLOR 2 ($9.95 value). City State Zip ❑ I enclose full payment via check or credit card. You May Order by PHONE. We Check one ❑ $55.00 ❑ $34.00 ❑ $24.00 Pay For Your Call ❑ Check enclosed 111 Charge my credit card ❑ VISA ❑ MASTERCARD ❑ AMERICAN EXPRESS Date Card Expires on Call 1-800-222-2654 Month Year Please have your credit card at hand when ordering by phone. Card Number I I I 1 Signature I I I I I I i I I I I I All credit card orders must be signed Your Full Credit Card Account Number im No me on en on m m mm moo m m ------r 84:k

~~Without her~~

On South Walnut Street, just around the corner from Independence Hall in Philadelphia, the lights dimmed on the evening of February 13, 1946 heralding another declaration of independence . . . this from the analog world of computing. ENIAC, the brilliant child of brilliant parents, began to take the first baby steps toward computing as we know it today. Weighing 30 tons, Mauchley and Eckert's baby sported 18,000 vac- uum tubes, 70,000 resistors, 10,000 capacitors, 1,500 relays, 6,000 manual switches and the usual number of fingers and toes. Some- thing of a watt hog, she was powered by the equivalent of a small power house! That's why those city lights recorded the birth of ENIAC, an aquarian at that. And now the old girl is enjoying her fortieth, or her vanity obtaining, her second thirty-ninth birthday. Pres Eckert will tell us about the good old days. Kay Mauchley will talk about the women who "programmed" and "debugged" ENIAC in the Moore School Nursery. And there will be baby pictures! Where? At the beautiful new Com- puter Museum in Boston on the night it all began forty years ago. Celebrate with us. Call Big Birthday Party Reservations at The Computer Museum (617) 426-2800 to get your invitation.

▪ Symbolics, Inc. British Broadcasting Corporation The Fantastic Animation Machine, Inc Pacific Data Images Moore Business Forms, Inc. Purup Electronics A-S Calcomp InterCAD Corporation Intergraph Corporation ENIAC's declaration of independence made everything technically Lightspeed Computers, Inc. analog become digital. And with type, that's quite a trick. That's Qubix Graphic Systems, Inc. where the art meets the science head on. And it works so well at American Data Systems Inc. Bitstream that we make digital typefaces for most computers whose Computer Graphics Lab, Inc. hearts now beat digital. As we usher in '86, in these 86 companies Cubicomp Corporation you'll find Bitstream® typefaces matched precisely to the digital technology: Data Innovations, Inc. DataPlotting Services Inc. Dynatech Corporation Megatek Corporation Precision Visuals, Inc. Via Video Inc. West End Film Inc. Matrix Instruments, Inc. Adobe Systems Incorporated Atex, Inc. Bedford Computer Corporation X Camex, Inc. Conographic Corporation Dr.-Ing Rudolf Hell GmbH Imagitex Incorporated Misomex AB Raster Graphics, Inc. Scitex Corporation Ltd. r SIM-X A.S S System Integrators, Inc. Tegra, Inc. Xenotron PLC Foundation Computer Systems, Inc. k AT&T — IS 1 Data General Corporation Eastman Kodak Company ■■■ ■ ■■ ■ ■■ ■■ Enfoprise Incorporated ■ ■• ■■■■■■•• • ■■■•■■• •■■■• • ■••••■■■■1 ••■•■■ FileNet Corporation ■■■••••• Hewlett-Packard Company ■111111•••••■■■■•• ■■■■■■■• ■ ■ ■■■ ■■■•■•■• Lasergraphics, Inc. ■•••■■■■• •••• • UMW. ■■■■■■■•• ■■■■ MM OASYS, Office Automation Systems 151111• ■■■■••••■ Xerox Corporation •••••••••••• •••••••• Apricot Computer p.l.c. ••■•■••• Decision Resources Corporation ■ ■■■■■■ ••••••••• • n Digital Research Incorporated MINIM111111111111•11• MI1111 Graphic Software Systems • ••••••• Lotus Development Corporation 1111•11111111111•11■■■■■■ Microsoft Corporation ■■■■111 •••■• ■ ■■■■■■■••■•••■■■• Advanced Label Technologies ■■■■■••■■■■•■■■■■ Anser Technology, Inc. Dataproducts Corporation Data Technology Corporation Delphax Systems Diconix, Inc. Genicom Corporation Impact Systems Ltd. Kentek Information Systems, Inc. Mannesmann Tally Minolta Corporation Okidata Printronix, Inc. Ricoh Corporation RP&P Engineering, Inc. Southern Systems, Inc. Talaris Systems, Inc. Cybermation Inc. MG Industries, Inc. Varitronic Systems, Inc. Audio Visual Laboratories, Inc. Dicomed Corporation Dunn Instruments, Inc. Genigraphics Corporation DocuGraphix, Inc. Interleaf, Inc. Omnicad Corporation One-For-One, Inc. ViewTech, Inc. Xyvision, Inc. Time Video Information Services, Inc (3) To Be Announced Bitstream 82

~~What kind of a car would you buy if gasoline cost $40 per gallon?~~

Probably one that didn't use gas at At Tegra, we think photo- more work in less time with the all. Because you'd spend more in a typesetting is too expensive. same manpower. year on operating costs than you That's why we built Genesis, the Compatible with your sys- spent to buy the car. Doesn't sound total electronic imaging system that tem. Genesis emulates the most like a good investment, does it? provides typographic quality on popular phototypesetters: the Lino- Yet with phototypesetting, that's plain paper and plate material as tron® 202 and Compugraphic® the situation. You spend more oper- well as on RC paper and film. 8400 and 8600. Genesis can be ating your phototypesetter than you Genesis has changed the driven by any front-end system that did buying it. And to stay competi- rules of the road. The cost of can drive these phototypesetters. tive, you've got to buy another of owning a typesetter is more than And Genesis is easy to use. Simply these silver guzzlers and a new type just the purchase price; it's a combi- plug it in and start saving money. library when your old one is obsolete. nation of equipment cost, operating Future growth is assured. costs, productivity, compatibility, Genesis has a modular architecture and future growth. designed to grow with your needs. Equipment cost is low. Genesis Use it as a 1000 dots-per-inch plain- uses one imaging system and one paper imaging system. Or add the typeface library to produce identical XM option to create images on images on all output media. Genesis silver-based materials at 1500 dots offers the highest throughput of any per inch. Within the next year, you output device in the graphic arts can add graphics options. You can industry, allowing you to do the most expand Genesis without buying a work with the least investment. new imaging system or another Operating costs are reduced. type library. Because Genesis offers typographic If you're still driving a phototype- quality on plain paper, operating setter, you're spending too much costs are dramatically lower than with money. And you've got no invest- a phototypesetter. You do most of ment in the future. Genesis can save your work on plain paper, so you you money now, and can help you eliminate or significantly reduce grow. To find out how, call or write. the costs of photographic supplies, Tegra, Inc. chemicals, and the associated labor. 900 Middlesex Turnpike Productivity is improved. Billerica, MA 01821 Genesis turns jobs around quickly. (617) 663-7435 High throughput—five original pages a minute—means no waiting for jobs. No darkroom. No cutting or copying galleys. Keyboard operators, proofreaders, and customers get Electronic Printing and output immediately. You produce Imaging Systems $liOlgal on

Genesis is a trademark of Tegra, Inc. Linotron is a registered trademark of Allied Linotype. Compugraphic is a registered trademark of Compugraphic Corporation. 83 Imagine getting art like this for about

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OF IMITATIONS! Labortests unterworfen. Chromatec Farben sind seit vielen Jahren international im Handel. Sie zeichnen sich durch gleich- bleibende, stabile Zusammensetzung und deshalb zuverlassige, hochstehende Qualitatsmerkmale aus. Immitationen konnen gleiches nicht von sich behaupten. Mit Chromatec Farben treffen Sie den Farbton jeder Druckfarbe genau. Die Farbe die Sie aussuchen ist identisch mit der die Sie erhalten, vorausgesetzt, Sie beziehen sie Ober einen autorisierten Chromatec Handler. Achten Sie deshalb darauf was Sie kaufen. Andere Fabrikatc kannten den Eindruck erwecken sie seien die Nachfolger von Chromatec.-Sie wissen, es gibt aber nur ein echtes Chromatec.

CHROMATEC est absolument le seul de son nom et absolument unique en son genre. Si d'autres systemes de couleurs emploi- ent des noms similaires, ils n'ont rien a voir avec CHROMATEC, les produits CHROMATEC etant soumis en permanence a des controles de laboratoire aussi stricts que correspondant a la realite pratique. Les couleurs CHROMATEC sont commercial- isees avec succes et dans le monde entier depuis de longues annees, et se distinguent par une formulation constante et stable et, partant, par des caracteristiques qualitatives aussi fiables que de haut niveau, ce dont les imitations ne peuvent s'enorgueillir. Les couleurs CHROMATEC vous permettent d'obtenir tres exactement la nuance desiree pour n'importe quelle enore d'imprimerie. Ainsi, la couleur que vous There is only one Chromatec. Other color imaging systems choisissez est parfaitement may have similar names and logos, but they are not Chromatec! identique a celle que vous Chromatec products are tested in the most stringent laboratory, obtenez pour peu que vous the real world. Chromatec inks have been in use for years, the vous fournissiez aupres d'un same true formulations, the same high quality. The imitations concessionnaire officiel cannot claim the same. Chromatec inks can be color matched ■ CHROMATEC. Pretez donc CHR omai0 to standard ink color systems. The color you specify is the bien attention a ce que vous color you'll receive ... but only from an authorized Chromatec achetez. D'autres produits dealer. Be cautious, others may claim they are the successor peuvent en effet donner to Chromatec, but there is only one Chromatec. l'impression d'être les "suc- cesseurs" de CHROMATEC. Es gibt nur ein Chromatec. Andere Farbsysteme verwenden Vous le savez-CHROMATEC, ahnliche Namen und Logos-sind aber nicht Chromatec. c'est CHROMATEC et Chromatec Produkte werden standig praxisgerechten, strengen le restera. GET THE REAL CHROMATEC! JUST FILL OUT THE COUPON r 1

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(Clockwise from top left) Acclaimed Frank Miller produces a photocollage illustrator Robert Peak demonstrates for the Oil Division of Control Data; Subscribe Today to the New his multi-media technique as he Illustrator Bill Vann revises a calendar renders "Summer Breeze" exclusively border in pen and ink for the St. for Step-By-Step; Illustrator Michael Louis Tourism Bureau; LIFE How-To Reference Magazine Cacy tells all about how to outfit your magazine's creative staff photoedits studio; Artist David Malone relates and lays out a cover feature on the facts on troubleshooting the Bill Cosby. for Visual Communicators! airbrush; Photo/graphic designer Published bimonthly in association with Dynamic Graphics Educational Foundation (DGEF)

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"lb succeed today a graphic designer or art Marcia must undenrkmd the melding of allphases of communications.He is a part of a total communications effmt thcrt starts,we hope,with a progressive client,cm effective image, cmd a knowledgeable product designer and ends in a consumer reaching Into Isis for money to that product- In between are the advertising copywriter, the art directomi_ padarOng seqrt, t-oteale and promotional people, and a dozen others. The problem has been that each poison bibbed in the bbl cormnunications effort thinks thathis own thing is the keytomarketing cmdsellingUsat produb.Theexpetts"within the communications lbstdon'tunderstand each other, and this causes a breakdown of communications between individuals who not only have a thorough knowledge of each other's function but a respect for each other's oontribution. Our success Ls due to the fact that we h made it our business to become imosviele in every area of communications. We know how important a aved package design can be to the creators of .ve advertisin . If a stimulatinc; ad gets a customer into a , a poorly designed package can quickly kill the sale no what the ad accomplished. And, conversels a great package can make advertising look goad The day of specialists working in thelr vacuums is oveL111.•met that in ten I don't like your face, suit, total communications teams within adveng agencies or retained by advertising agencies wW take over all the ctions —point of sale,cUsplagpackaga3product design,corporate design,architectunalgraphics,etc.—thatwors once boss or company. But your farmed out to spe ciaUsb and use their so phisticated methods to proftft- - a much more effective maileeting job for their customers. I have been doing a good eal of thinking about youth lately—youth in ow business and youth as a consumer 1 have seluckmlly come to the conclusion that young designers today are so interested in getting rich proposal is on Classic®Linen that th s are not getting the background in all phases of communications and max , something that ourqui filll demand . On the oilier -liand youth represents a gigantic buying public. Young aduBs 35% of our po so we'll talk / We have to design for people 25 years old and under to sell. These young people are sharp, better educated Fhuicranyn. other generation in the history of man. They are changing all the rules for successful selling, Look at what's happened in the last several years to meris clothing, in the automotive industry, and in the entertainment industry because of youth. Designers, too, must understand the changes that are taking place in society today and be able to respond creative to them. We cannot settle tor one font of wisdom just as we cant settle for one font of type.We must be creatures of the chcmging times. Communicators today are talking to themselves, holding monologues, when they should be holding dialogues. There is little room today for a narrow perspective on graphic design. In fact, design has been 'wallowed up by communications, and that's the world we are all working in today" The above statement and prediction were made by Herb Lubalin ten years ago, as president of the International Academy' of Communicating Arts and Sciences. On TueWay ,Jcmuary 20, 1981,while the Reagans gu.ssied themselve up for the Inaugunati on Ball ...while the hostages sweated out nighttheir ak eoff from 'Teheran .. . a few hundred tans, frie nds ades family of Herb Lu balin tore themselves away from those TV cles to witness, in person, the presentation of the AIGA (American Institute of Graphic Arts) medal. For the Reagcms, arInauguration Ball was a definite "MBE' For the hostages, that day in Iron was a merciful ' last" But for Lubalin, the award for excellence in graphics was number 573. Herb has become something of a Pied Piper to the young and a leader among his peers.lt is especiallyluncA21.desiRris and students that this profile is directed,to reveal that there are really no gods . . no supermen... In busIness.But once in a while a little guy comes along vrith a few extra creases in his brain (which niCrlesinigirthingli a unique and with a prodigious appetite for work.The consensus is that Herb is small, lean, elfin, prematurely while-haired cmd silent.He's a bare 5 ft., 7 inches tall (he carries his head tucked into his shoulders which robs him of an in or IWoh 0 weighs in at less than 140 lbs. He doesn't really walk; be shuffles. He doesn't really talk, he grunts,snorts ‘oloars tas lotmoat a mid occasionally nods his head. He's a conscientiously casual dresser concenhuting on subtle taupes, preens and earth tones, guided by either a rare color sense or his congenital color-blindness. He's a sharp shot -at tennis at ping-pong, a graceful swimmer, a smooth dancer, a reluctant walker—he does none of these things "briskly.' He churns out mountains of work without ever looking ruffled, frantic or hurried. In fact, the only part of his body that really moves fast is his brain. It's clear, Lubalin's talent is unique.You can't learn it in sacol, from lectures, from texts or even by swallowing whole issues of 1.1841c. He has a special radar for zooming in on a problem. He trims away the fat—the extraneous—and works out solutions that are succinct, witty and elegant. Though h hati handled every design problem from letterheads to a loft interior, over the pears he has about seduced by and letter forms This man who hardly speaksis a language lowr.ly There's nothing new literary people ploryi-nal wohrviiidsl,hat sou like what they an,i.e., screech , scratc h, grizzly, clang, whisper... but when Herb Started to make fiords 1 ilite what tdhey me an, It wa s the beginning of a whole new adventure in graphic design, His visualization of the Man-Way, with the double R's facing each other; his Mother & Child, with the ampersand and child nestled in liter 0, are the epitome of his wit. His solutions are so obviously right, they stunus,HerbisexasperatingtoyZeoplewhoproduceworkforhim butrpeverknowwhathethinksoftheirefforts. He is crushing to young designers and r over a portfolio, seekin a serious criti e, but hear only a few grunts, a mumble and a snort or two. If only theyriltrn IItat a t, a snort and a little nod of the head from Herb can be thunderous applause. He can be a to work for He and not given to endless revises; but he is stubborn to the extreme; his tenacity s driven ottiers to ra anti ation.As foris quickie decisions, at least two now-famous graphic artists have the distinction OS n " by Lubalin. People who know the meaning of "blocked" watch him work with envy- and murder In hearts. His powers of concentration are legend. I've personally seen him —with tracing pad balanced on hblcmos,with football noises blasting from the TV set,with children wrestling underfoot with food passing overhead—implacably reel oftlissues with the regularity al copies shooting out of a word processor Before the Giants have made a first down., he has 15 solutions to a graphic problem. And he has crumpled up more good ideas than most people produce in a lifetime of trying hard He has no empathy for procrastinators, worriers or deliberators. What might be a "big deal" to the rest of us is a flash decision for himliotb has bought houses, formed partnerships, entered into business ventures in less time than most people take to decide on a pair of shoes. That's unnerving. no flood of compassion from him, not even a trickb,fOr your personal woes. You want to discuss a love affair your chi dren, your_pratessional crises,your doubts, fears,your psyche? Don't come to Herb. The whole Freudian has passed him He h no use forpsychology except, typographically, it has terrific potential— those ascenders , descenders and os! ut Her is exas g onsistent; he keeps his own personal traumas and tragedies firmly locked behind the sluice gates, top. c has been ma o ence at work private Neenah Paper Classic Linen — a good paper world, Herb does talk. Dress him in a laxk • a microphone,he sharpens up his everyday is and d's and becomes a veritable Demosthenes—only ?wader. has lectured widely In the States, in Canada, Europe and Japan, professionals and students with his devastating candor and humor. Or AI you should CO1985 K.C.C. to make the most of a tough job. Informing and entertaining happen to touch on a topic that nettles him he will open up and deliver a diatribe he's had stored up for months. Di his e Registered Trademark work he is loose and open. He has no holed-up philosophies, no rigid imperatives. But in personal matters, he's a crazy of Kimberly-Clark Corporation Kimberly-Clark aesthetic fanatic. He operates from a code of decency few people understand: He was an equal-opportunity-employer Neenah Paper Division long before those words were invented. He hired women designers, artists and administrators before any one of them had her consciousness raised. He initiated the Ms. section of U&Ic as a showcase for women in graphics. But don't, unless you enjoy severe indigestion, get him started on Ylomen's Lib in the midst of a nice quiet dinner lb sum up, Herb Lubalin is: a bnlliant communicator and non-communicative...an iconoclast and a classicist...esoteric and earthy...uptight and casual...worldly and provincial ...turned off and turned on...unyielding and a pushover...embarrassed by small talk and poised on the podium...a lousy conversationalist and a great fishing pcfrtner... completely unpretentious...fiercely ethical . .. fiercely competitive... expensive. .. expansive . . exasperating... stimulating... concerned... a pleasure to work with... laconic... left-handed... funny... and lovable.

Dick Blick Ems` 1986 Art Materials Catalog After 75 years, Dick Buick is still a leader in Art Materials! You'll see why in this year's Our congratulations to the design catalog — in its 448 pages you'll find all of your old competition winners. Herb would favorites (Crescent, Pelikan, have been proud of all entrants Pantone, Koh-i-noor, Ulano, for their efforts and for the deep Marsmatic, X-Acto, etc.), plus new tools, materials and pro- sincerity demonstrated in their jects for the graphic designer, submissions. sign painter, printer, fine artist, craftsman, etc. As always you can expect Dick Blick quality and economy on every page! Send for your copy today! T DICK BLICK CO. Dept UL, Box 1267, Galesburg, IL 61401

~~Please send me the 1986 Catalog. Enclosed is $2.00.~~

~~Name (212) 6M1187-8840FOGRAPI-IY P Business 26 E 45 ST VAN YORK NY 10017~~

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Try it for yourself save up to Just mail in the coupon with $1.00 (for postage and handling) and a sheet or bottom strip of Letraset® or other transfer lettering $5.00 and we will send you a full-size sheet of a sheet Velvet Touch (24 point, Helvetica Medium). Compare it to what you are using now. We We would like the opportunity to prove to think you will realize that Velvet Touch is you that Chartpak Velvet Touch is the best better for you, your clients and your budget. II value in transfer lettering today. • This offer can be honored only once per person. • Lay a sheet of Chartpak Velvet Touch over • I .' one of Letraset's Instant Lettering® and ,se compare the character density. In many '•C‘ instances you will find that the LetrasetTM chartpak # ,1/4• „1/44, •‘0 ‘ 44b sheet offers only 5% to 30% more characters ONE RIVER ROAD I .,xe LEEDS, MASSACHUSETTS 01053-9732 46 e6 (.6p. gbc3. (we counted). At the cost of $9.45 for Instant Lettering® ($9.95 for Letragraphica®) per • ,b‘V Ot g4 teP sheet versus $4.95 for Velvet Touch it becomes e ,„,06 obvious which sheet is the better buy. , 4 et. tooqfbvo 6+ 0 Since money isn't everything, let's talk about IIt.f4 se , , f quality. Velvet Touch is printed with vinyl ink s 0.0'% 001. 9CP •- o0 405' si

on a Mylar® sheet, which insures a perfectly •e",,e(*.e 6'0 . • ot o smooth application with no cracking of the e 44's letters or distortion of the sheet. s e G,41 4,4 ,% 41% Prices shown are suggested retail prices as of 7/31/85. Letraset Instant Lettering and Letragraphica are trademarks of Letraset U.S.A., Inc. Is e 4, Mylar is a Dupont registered trademark. e e e A e • • •c.%* C. • C' '0% 88

The RapidType Computer is hardware-based on the Sharp PC1250A Pocket Computer. SHARP. THE ECSTASY OF O AGON You have all the elements of a great campaign. A brilliant creative concept. First-rate copy. Superb illustrations. All you're waiting for is your type. With deadlines to meet, there's no time for surprises. Like late delivery, PE's, wrong specs, no refinements... the agony of art directors. If typography, overnight service and attention to detail are what you're looking for look to Granite Graphics to RAPIDTYPE COMPUTER deliver the ecstasy without the agony.

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"ONE STEP BEYOND OKDINAW TYPOGRAPHY" Photo-Lettering, Inc. has become one of the most renowned typeshops in the world. And it's no wonder. Our 50 years of The ITC Center has prepared a variety of slide presentations extraordinary capabilities have been praised in based on past ITC Center exhibitions. These are available for two- graphic design books and magazines. week rentals to schools, companies and design organizations throughout the world. Rental fees range from $40.00 to $50.00 Our exclusive typestyles appear regularly U.S. A refundable deposit is also required. (There is also a $25.00 on network television and in print. charge for slide shows shipped outside the United States.) Yes! We're innovative and imitated many times, but we're never quite duplicated. Presentations currently available include: 212 International Calligraphy Today PHOTO-LETTERING, INC.2161345ILI NYC10017. 490 2345 This collection, from the 1980 calligraphy competition sponsored by ITC, represents the work of more than 100 calligraphers from five continents. (389 slides)

Japanese Typography This slide lecture was delivered in New York City in 1983 by the Artograph Japan Typography Association. (85 slides) DB 300: The Calligraphy of Friedrich Poppl An exhibition of the calligraphy of the late West German The Graphic calligrapher and type designer. (90 slides) Design Tool Typo & for Visual A 1983 exhibition of the work of nine contemporary Czechoslovakian designers. (225 slides) Communication

Typographica USSR Professionals A collection from the 1985 exhibition organized by the Artists Speed up your creative production time and put Union of the USSR in Moscow, on Soviet typography, calligraphy an end to tedious scaling with the DB 300 opaque art projector. It mounts on your drawing board and and type design. (230 slides) projects down, directly onto your work surface. Scale range is 3 times enlargement and 40% Typographic Treasures 1: Herb Lubalin reduction on your table top; 8 times on the floor or The graphic and typographic design of Herb Lubalin.This lower table, and with the side mount feature, 18 times exhibition was formerly called "Lubalin in Paris." (150 slides) onto the wall. Project in color and opaque copy, three dimensional object, as well as slides and tranparencies (accessory Typographic Treasures 2: Professor F. H. Ernst Schneidler required). "Der Wasserman," a portfolio of the graphic design and typography It's on display at your local art supply store. Ask for a of the late German designer Professor F. H. Ernst Schneidler. hands-on demonstration. (122 slides) For complete details, call or write for a free brochure. Typographic Treasures 3: Paul Rand Artograph, Inc. Dept. UL-2626 N. Second Street Fifty years of the typography and graphic design of Paul Rand. Minneapolis. MN 55411 612/521-2233 (392 slides) artograp LAO Typographic Treasures 4: Gudrun and Hermann Zapf Calligraphy, type design, and book design are featured in this exhibition of these West German designers. Also included are

~~examples of bookbinding by Gudrun Zapf. (290 slides) ❑ Please send brochure with complete specifications and price .~~

Name Phone( ) For additional information and copies of the rental agreements, Title/Position contact Laurie Burns, Director, Public Relations and Educational Company Activities, ITC, 2 Hammarskjold Plaza, New York, NY 10017, USA. Address Telephone: (212) 371-0699. City State Zip

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Beet Number DIGITIZED TEXT PHOTOTYPOGRAPHY A B C D F. Est, Date Black on white Signature ;PHOTO-TYPOSITDR • MECHANICALS BODYTYPE is a registered trademark of Arthouse Co. Ship to; (102) 01985 Arthouse Company. All rights reserved. 03 WORD PROCESSING CONVERSIONS Name are via UPS. Please include your name with street address and ALL ORDERS Address $2.50 per order for shipping and handling charge. There is an additional $5.00 charge for each order to Alaska and Hawaii. Please include N.Y.sales tax (if any) City Use credit card or money order for prompt service (no C.O.D.'s accepted). State Zip Offer only good with this ad till June 30,1986

U.S. POSTAL SERVICE STATEMENT OF OWNERSHIP, MANAGEMENT AND CIRCULATION (Required by 39 U.S. C. 3685) 1. TITLE OF PUBLICATION A. PUBLICATION NO. 2. DATE OF FILING U&lc (Upper and lower case) ISSN 03626245 12/2/85 3. FREQUENCY OF ISSUE A. NO. OF ISSUES B. ANNUAL SUB- PUBLISHED ANNUALLY. SCRIPTION PRICE Quarterly 4 4. COMPLETE MAILING ADDRESS OF KNOWN OFFICE OF PUBLICATION (Street, City County State and ZIP Code) (Not printers) 2 Dag Hammaxskjold Plaza, New York, NY 10017-2991 THE FIRST S. COMPLETE MAILING ADDRESS OF THE HEADQUARTERS OR GENERAL BUSINESS OFFICES OF THE PUBLISHERS (Not printers) same as above 6. FULL NAMES AND COMPLETE MAILING ADDRESS OF PUBLISHER, EDITOR, AND COMPREHENSIVE MANAGING EDITOR (This item MUST NOT be blank) PUBLISHER (Name and Complete Mailing Address) International 'typeface Corp., 2 Dag Hammarskjold Plaza, NewYork, NY 10017 - 2991 LIBRARY OF EDITOR (Name and Complete Mailing Address) Edward Gottechall — International Trpeface Corp., 2 Dag Hammarskjold Plaza, NewYork, NY 10017 - 2991

MANAGING EDITOR (Name and Complete Mailing Address) OVER 1350 Aaron Burns — International typeface Corp., 2 Dag Hammarskjold Plaza, New York, NY 10017 - 2991 7. OWNER (If owned by a corporation, its name and address must be stated and also immediately thereunder the names and addresses of stockholders owning or holding 1 percent or more of total amount of stock. If not owned by a corporation, the names and addresses of the individual owners must be given. If owned by a partnership or other DIGITAL unincorporated firm, its name and address, as well as that of each individual must be given. If the publication is published by a nonprofit organization, its name and address must be stated.) (Item must be completed) FULL NAME COMPLETE MAILING ADDRESS International lypeface Corporation 2 Dag Harrunarsinold Plaza, New York, NY 10017-2991 TYPEFACES. Stockholders- Lubalin, Burns & Co., Inc. 50% 2 Dag Hamrnarslcjold Plaza, NOW York, NY 10017-2991 Electrographic Corp. 50% 812 W. Van Buren, Chicago, IL 80607 8. KNOWN BONDHOLDERS, MORTGAGEES. AND OTHER SECURITY HOLDERS OWNING OR HOLDING 1 PERCENT OR MORE OF TOTAL AMOUNT OF BONDS, MORTGAGES OR OTHER SECURITIES (If there are none, so state) DIGITAL FULL NAME COMPLETE MAILING ADDRESS None TYPEFACE LIBRARY 9. FOR COMPLETION BY NONPROFIT ORGANIZATIONS AUTHORIZED TO MAIL AT SPECIAL RATES (Section 411.3, DMM only) The purpose, function, and nonprofit status of this organi- 9" x 12"/ 760 pages/perfect zation and the exempt status for Federal income tax purposes (Check one) Non-applicable bound. Printed on high quality, (I) (2) (If changed, publisher must submit 1 HAS NOT CHANGED DURING HAS CHANGED DURING explanation of change with this semi-gloss paper, the Digital r L_•1 PRECEDING 12 MONTHS L—I PRECEDING 12 MONTHS statement.) AVERAGE NO. COPIES ACTUAL NO. COPIES Typeface Library shows over EACH ISSUE DURING OF SINGLE ISSUE DIGITAL TYPEFACE LIBRARY CO. 10. EXTENT AND NATURE OF CIRCULATION PRECEDING PUBLISHED NEAREST 1,350 digital typefaces with a 3 West 36th St., New York, NY 10018 12 MONTHS TO FILING DATE complete alphabet for every A. TOTAL NO. COPIES (Net Press Run) 194,500 201,000 Please send me _ copies of the Digital Type- B. PAID CIRCULATION 1. SALESTHROUGH DEALERS AND CARRIERS, none none face. Text faces are shown 6 to face Library at $80 per copy. I have enclosed STREET VENDORS AND COUNTER SALES 36 point and display faces are a check made payable to Digital Typeface 2. MAIL SUBSCRIPTION 178,726 187,310 shown 12 to 36 point in line- Library Co. in the amount of $ C. TOTAL PAID CIRCULATION (Sure of 1061 and 1082) 178,726 187,310 spaced paragraphs. Character (Shipping and handling is included.) NY orders add local sales tax. All payments in D. FREE DISTRIBUTION BY MAIL, CARRIER OR OTHER MEANS. SAMPLES, COMPLI- 2,460 2,485 counts for every face and size US dollars. Thank you. MENTARY AND OTHER FREE COPIES and a character counter is E. TOTAL DISTRIBUTION (Sum of C and D) 181,186 189,795 F. COPIES NOT DISTRIBUTED included on every page. Front 1. OFFICE USE LEFT OVER, UNAC- 13,314 11,205 COUNTED, SPOILED AFTER PRINTING matter explains digitization, NAME 2. RETURN FROM NEWS AGENTS none none

tracking, kerning and offers G. TOTAL (Sum of E, Fl and 2—should equal net press run shown in A) 194,500 201,000 vital information on typeface ADDRESS SIGNATURE AND TITLE OF EDITOR, PUBLISHER, BUSINESS identification complete with 11. I certify that the statements made by MANAGER, OR OWNER. me above are correct and complete Richard P. Conway, Controller CITY STATE ZIP diagrams and examples. $80. PS Form (See instruction on reverse) L June 1980 3526 (Page 1) 93

~~ONLY THE FOLLOWING SUBSCRIBER COMPANIES ARE LICENSED TO MANUFACTURE AND SELL ITC TYPEFACES~~

ABL Computer Technologies Camex Inc. Graphic Products Corporation Mecanorma Ryobi Limited URW Unternehmensberatung Ltd. 75 Kneeland Street 3601 Edison Place 78610 LePerray-en-Yvelines 762 Mesaki-Cho Karow Rubow Weber GmbH 43/44 Albemarle Street Boston, Mass. 02111 Rolling Meadows, III. 60008 Paris, France Fuchu-Shi Harksheider Strasse 102 London W1X 3FE (617) 426-3577 (312) 392-1476 483.90.90 Hiroshima-Ken 726 2000 Hamburg 65 England SuperSetter Digital Imaging Formatt Cut-out Acetate Letters Dry Transfer Letters Japan West Germany 01-499-9461 Systems for Text and Graphic Art Aids Text/Display Phototypesetters (040) 602 1071 Daisy Wheels and Thimbles MegaCom, Inc. IKARUS—Digital Type Production Cello-Tak Mfg., Inc. Graphics, Inc. Scangraphic Dr. Boger GmbH 3925 Coconut Palm Drive Adobe Systems, Inc. SIGNUS—Type Setting with Foils 35 Alabama Avenue 16001 Industrial Drive Suite 115 Rissener Strasse 112-114 Varitronics Systems, Inc. 1870 Embarcadero Island Park, L.I., N.Y. 11558 Gaithersburg, Maryland 20877 Tampa, Florida 33619 2000 Wedel/Hamburg Palo Alto, Calif. 94303 (516) 431-7733 (301) 948-7790 (813) 626-6167 West Germany 9959 Valley View Road (415) 852-0271 Dry Transfer Letters Manufacturer of Dry Transfer Non-Impact Page Printing Systems (04103) 6021-25 Eden Prairie, Minn. 55344 Interactive Software Tools for Manufacturer of the Scantext Chartpak Systems (612) 944-5070 Graphic Arts Metagraphics Phototypesetting System, Merlin Electronic Lettering Harris Corporation Division of Intran Corp. One River Road Frontend, Typesetter, Graphic Systems for the Office Allied Linotype Company Harris Composition Systems Leeds, Mass. 01053 4555 W. 77th Street Page, Logoscanner, Interfaces Division Visi-Graphics 425 Oser Avenue (413) 584-5446 Edina, Minn. 55435 and Digital Fonts Hauppauge, New York 11788 Dry Transfer Letters P.O. Box 2080 (612) 835-5422 8119 Central Avenue (516) 434-2000 Melbourne, Florida 32901 Simulation Excel A.S. Compugraphic Corporation Digital Fonts for Xerox 9700 Washington, D.C. 20027 Linoterm, V-I-P, Linotron, Omni- (305) 259-2900 Dag Hammarskjolds vei 15 (301) 366-1144 Microtype tech CRTronic, Phototypesetting 200 Ballardvale Street Fototronic 4000, TXT, 1200, 600 Oslo 5 Dry Transfer Letters Equipment and Systems Wilmington, Mass. 01887 CRT 7400, 7450 8 Faubourg St. Jean Norway (617) 944-6555 21200 Beaune Visual Graphics Corporation Aiphatype Corporation Dr.-Ing Rudolf Hell GmbH Tel: 47-2-15 66 90 EditWriters, CompuWriters, France PAGEscan Digital Typesetter 5701 N.W. 94th Avenue 7711 N. Merrimac Avenue Text Editing Systems, Grenzstrasse 1-5 Film Fonts Manufacturer PAGEcomp Interactive Ad Tamarac, Florida 33321 Niles, Illinois 60648 MCS'" 8200, 8400, 8600, D2300 Kiel 14 Alphabet Designers and Page Make-up Terminal (305) 722-3000 (312) 965-8800 Accessories and Supplies West Germany Manufacturer of Photo Typositor AlphaSette and AlphaComp (0431) 2001-1 The Monotype Corporation Ltd. Southern Systems, Inc. Computer Gesellschaft and Original Typositor Film Fonts Phototypesetting Systems Digiset Phototypesetting Salfords, Redhill, Surrey, 2841 Cypress Creek Road Konstanz MBH Xerox Corporation CRS Digital Phototypesetter Equipment and Systems, England Ft. Lauderdale, Fla. 33309 Corporate Font Center Max-Stromeyer-Strasse 116 Redhill 6 5959 AM International, Inc. Digiset-Fonts (305) 979-1000 D-7750 Konstanz Visual Communications 701 South Aviation Boulevard Varityper Division High Technology Solutions Electronic Printing Systems West Germany Equipment El Segundo, Calif. 90245 11 Mt. Pleasant Avenue (07531) 87-4433 P.O. Box 3426 Special Graphic Lettering Mail Stop A3-23 NEC Information Systems, Inc. Systems Holland B.V. East Hanover, N.J. 07936 Laserset-Laser Typesetter Poughkeepsie, N.Y. 12603 (213) 536-9721 (201) 887-8000 (914) 473-5700 1414 Massachusetts Avenue Lijnbaanstraat 13 OCR-Equipment Zipatone, Inc. Phototypesetters and Photo- MPS Front End System and Boxborough, Mass. 01719 P.O. Box 525 lettering Systems Digital Visions, Inc. Fastsetter Typesetter (617) 264-8000 2220 AM KATWIJK 150 Fend Lane Personal and Small Business Holland Hillside, Illinois 60162 Artype, Inc. 454 West 46 Street Information International New York, N.Y. 10036 Computer Systems, Printers and 01718-26114/22871 (312) 449-5500 3530 Work Drive 5933 Slauson Avenue Dry Transfer Letters (212) 581-7760 Peripherals. Dry Transfer Lettering P.O. Box 7151 Culver City, Calif. 90230 Interactive Computer Graphics Fort Myers, Fla. 33901 (213) 390-8611 Officine Simoncini s.p.a. D. Stempel AG Software (813) 332-1174 Phototypesetting Systems Casella Postale 776 Hedderichstrasse 106-114 800-237-4474 ETP Systems, Inc. 40100 Bologna D-6000 Frankfurt 70 International Business Dry Transfer Letters Italy 10150 SW Nimbus Avenue Machines Corporation West Germany Cut Out Letters (051) 744246 Suite E-2 (069) 6068-0 Old Orchard Road Hot Metal Composing Matrices Typefaces and Fonts for Analog Aston Electronic Designs Ltd. Portland, OR 97223 Armonk, N.Y. 10504 and Phototypesetting Systems and Digital Typesetters and other (503) 639-4024 125/127 Deepcut Bridge Road Electronic Printing Systems Visual Communication Equipment Manufacturers of Laser PhotoVision Of California, Inc. Deepcut, Camberley, International Type Fonts ApS Surrey GU16 6SD Publishing Systems incorporating P.O. Box 552 Sumitomo Bakelite Co., Ltd. England typesetting and fonts into Unix do Cooper & Beatty, Limited Culver City, Calif. 90230 2-2, 1-chome, Uchisaiwai-cho 401 Wellington Street West 0252 836221 based computer systems. (213) 870-4828 Chiyoda-ku, Tokyo 100, Japan Video Character Generators Toronto M5V 1E8 Toll Free: 800-421-4106 (03) 595-9391 Fllmotype (416) 364-7272 Spectra Setter 1200, Visual Printwheels, Daisy Wheels and Autologic, Inc. 7711 N. Merrimac Avenue Type Discs for Harris 600, Display Setter, and 2" Film Fonts Thimbles. 1050 Rancho Conejo Boulevard Niles, Illinois 60648 1200, 4000, TXT Typesetters Pressure Graphics, Inc. Tactype, Inc. Newbury Park, Calif. 91320 (312) 965-8800 Itek Composition 1725 Armitage Court AUTHORIZED SUPPLIERS (213) 899-7400 Film Fonts Systems Division 12 West 26th Street APS-4/APS-5 CRT Phototype- Addison, Illinois 60101 New York, N.Y. 10001 OF ITC TYPEFACES IN 34 Cellu Drive DIGITAL FORM setter Composition and Fonts (312) 620-6900 (212) 924-1800 Nashua, N.H. 03060 Typesetting Systems Hardy/Williams (Design) Ltd. Dry Transfer Letters Dry Transfer Letters ADOBE SYSTEMS INC. 300A High Street (603) 889-1400 BITSTREAM INC. Prestype, Inc. Technographics/Film Fonts Autologic SA Sutton, Surrey Phototypesetting Systems and COMPUGRAPHIC CORPORATION 1030 Bussigny Pres Lausanne SM1 PQ England Equipment, Film Strips, 194 Veterans Boulevard P.O. Box 552 D. STEMPEL AG Switzerland 01-636-0474 Standard and Segmented Discs, Carlstadt, N.J. 07072 Culver City, Calif. 90230 URW UNTERNEHMENSBERATUNG 021/89.29.71 and Digitized Fonts (201) 933-6011 (213) 870-4828 Font Manufacturer AUTHORIZED DISTRIBUTORS Bobst Graphic Products and Dry Transfer Letters Toll Free: 800-421-4106 Esselte Letraset OF ITC TYPEFACES Phototypesetting Systems Fundicion Tipografica Film Fonts, Studio Film Kits, Neufville, S.A. Letraset Limited Purup Electronics and Alphabet Designers AGFA-GEVAERT H. Berthold AG Puigmarti, 22 St. Georges House 28 Jens Juuls Vej BITSTREAM INC. Teltowkanalstrasse 1-4 Barcelona-12 195/203 Waterloo Road DK 8260 VIBY J TypeMasters, Inc. CUBICOMP D-1000 Berlin 46 Spain London SE1 84J Denmark 29-31 E. Lancaster Avenue DATALOGICS INCORPORATED West Germany 219 50 00 England Tel: 456-28 22 11 Ardmore, Pa. 19003 DELPHAX SYSTEMS (030) 7795-1 Poster Types (01) 930-8161 Laser Forms Printer (215) 649-2546 DICOMED CORPORATION Diatronic, ADS 3000, Diatext, Dry Transfer Letters 2" Film Fonts DIGITAL EQUIPMENT Geographics, Inc. Quantel Ltd. Diatype, Staromatic, Letraset USA Inc. CORPORATION Staromat, Starograph P.O. Box R-1 Kenley House DIGITIZED INFORMATION Blaine, WA 98230 40 Eisenhower Drive Kenley Lane SYSTEMS CORPORATION Berthold of North America (206) 332-6711 Paramus, N.J. 07652 Kenley, Surrey (GHENT, BELGIUM) 610 Winters Avenue Dry Transfer Letters (201) 845-6100 CR2 5YR EOCOM Paramus, N.J. 07652 Dry Transfer Letters England GENERAL OPTRONICS Gepeto Eletronica Ltda (201) 262-8700 Linographics 01-668-4151 CORPORATION Diatronic, ADS, Diatype, Staromat, Praia de Botafogo 440-16 andar Designers and Manufacturers KANEMATSU ELECTRONICS 770 N. Main Street Diasetter, Repromatic Rio de Janeiro CEP 22250 of Digital Television Broadcasting LIMITED Orange, California 92668 Brasil Equipment: the Paint Box SCITEX CORPORATION LTD. (714) 639-0511 (021) 286-8284 Display Typesetters, Telex 021-33499 2" Film Fonts Digital Phototypesetters Photocomposition Systems

~~FOR FURTHER INFORMATION WRITE OR CALL: INTERNATIONAL TYPEFACE CORPORATION 2 HAMMARSIUOLD PLAZA, NEW YORK, NEW YORK 10017 (212) 371-0699 TELEX: 669204 94~~

NEW: And-There's a most helpful typeface speci- fiers book for every ITC typeface family. TO HELP YOU Each 6" x 12" book includes: 1 Text blocks plus alphabet showings for SPECIFY sizes 6, 7, 8, 9, 10, 11, 12, 14, 16, 18, 20 and 24 points. ITC ESPRIT 2 Alphabet lengths in points for each text point size shown. These relate to an easy- to-use copyfitting chart at the back of the book. 3 Alphabet display showings in sizes 30, 36, 48, 60 and 72 points plus 1" caps. Name 4 Complete character showing of each Company ITC display font. 5 Headline presentation in display Title size range.

~~Street Address~~

~~ITC Esprit Bold City State~~

....,,.:=1;,7=If”..6... abcdefghijklmnopqrstuvwxyz Country Zip Code ■ .„..,.....„..„,...., ABCDEFGHIJKLMNOPQRSTUVWXYZ ....„ 6 . `"7" *:' =6°' Excellence in typography is the result of nothing mo 6 ■:,..... 6.,.. . =====',". ,- re than an attitude. Its appeal comes from the under standing used in its planning; the designer must car Quantity Unit Price Total ABCDXFOHISIMMEOPQRSIVVWXXXI2MISIMS*0 ., C. In contemporary advertising the perfect integrati , en ...MO. ego.. emov•E abcdefghijklmnopqrstuvwxyz ming me perfect integmoonadssigx .n ITC BOOKLETS: ABCDEFGHIJKLMNOPQRSTUVWXYZ _ITC American Typewriter® $1.00 Excellence in typography is the result of nothi ITC Avant Garde Gothic ° with Oblique 1.00 abcdefghijklmnopqraturiveye ABEDEFGHIJKLPINCIPQRSTUVWXVE1234587800 ng more than an attitude. Its appeal comes fro ITC Avant Garde Gothic° Condensed 1.00 Excellence in typography is the result of nMhing more than an attitude. Its apps m the understanding used in its planning; the vmmvs: the ems.... sum wuts ITC Barcelona® 1.00 ...... dttn,..noll utot. in it. contemporary advertieing the perfect integretion of design elements often dema ... designer must care. In contemporary advertis , ITC Bauhaus® ... 1.00 nds unorthodox typography. It may require the us< of compact spacing, minus le x main, unusual sixes and weights; whatever is needed to improve appearance an .1 , ITC Benguiat° 1.00 abcdefghijklmnopqrstuvwxyz ITC Benguiat° Condensed 1.00 abedefghijklmnopqrstuvwxyx 1234567890 ABCDEFGHIJKLMNOPQRSTUVWX'YZ _ITC Benguiat Gothic° 1.00 AECDEPGHIJICLIcIPTOPQICSTIMIWXYZ Excellence in typography le the result of nothing mom than an anitude. I Excellence in typography is the result of _ITC Berkeley Oldstyle° 1.00 ts appeal comes from the understanding used in its planning: the design 1.00 er noun care. In contemporary advertising the perfect integration of desi nothing more than an attitude. Its appea ITC Bookman ° gn elements of ten demands unorthodox typography. It may require then ITC Caslon No. 224° 1.00 w of compact spacing, minus leading, unusual sixes and weights; whatev ;y I comes from the understanding used in i _ITC Century® with Condensed 1.00 , is planning; the designer must care. In co ,, abcdefghijkhunopqrstuvwxys _ITC Cheltenham° with Condensed 1.00 ABCDEFGHIJKLMNOPQRSTUVWXYZI234567890 abcdefghijklmnopqrstuvwxyz ITC Clearface° 1.00 Excellence in typography is the result of nothing more than an at ITC Cushing- 1.00 titude. Its appeal comes from the understanding used in its plane ABCDEFGHIJKLMNOPQRSTUVW sing: the designer must care. In contemporary advertising the pert ITC Elarr 1.00 act integration of design elements often demands unorthodox typ Excellence in typography is the rests) ITC Eras® 1.00 .. ography. It may require the use of compact spacing, minus leadin ,,. Esprit" 1.00 t of nothing more than an attitude. It _ITC abcdefghijklmnopqrstuvwxyx _ITC Fenice° 1.00 ABCDEFGHUIECLMNOPQRSTUVWXYZ1234567890 s appeal comes from the understandi ITC Franklin Gothic° 1.00 Excellence in typography is the result of nothing more than ng used in its planning; the designer _Friz Quadrata 1.00 an attitude. Its appeal comes from the understanding used i n its planning; the designer most care. In contemporary ads _ITC Galliard- 1.00 ertising the perfect integration of design elements often de abcdefghijklmnopqrstuvwxyz _ITC Garamond® with Condensed 1.00 mands unorthodox typography. It may require the um of co ABCDEFGHIJKLMNOPQRST ITC Isbell° 1.00 abcdefghijklmnopqrstuvwxyz Italia 1.00 ABCDEFGHIJKLMNOPQRSTUVWXYZ1234567890 Excellence in typography is th ITC Kabel° 1.00 Excellence in typography is the result of nothing more e result of nothing more than a _ITC Korinna° with Kursiv 1.00 than an attitude. Its appeal comes from the understand ITC Leawood - 1.00 mug used in its planning; the designer must care. In con n attitude. Its appeal comes fro _ITC Lubalin Graph° with Oblique 1.00 temporary advertising the perfect integration of design ,z elements often demands unorthodox typography. It ma 15,. , m the understanding used in it - _ITC Mixage- 1.00 ITC Modern No. 216 - 1.00 ITC New Baskerville - 1.00 ITC Newtext° 1.00 ITC Novarese° 1.00 _ITC Quorum° 1.00 ITC Serif Gothic° 1.00 _ITC Souvenir° 1.00 _ITC Symbol- 1.00 abcdefghijklmnopqrstuvwxyz _ITC Tiffany with Italic 1.00 abcdefghijklmnopqrs ABCDEFGHIJKLMNOPQRSTUVWXYZ _ITC Usherwood- 1.00 ABCDEFGHIJKLMN 1234567890&123456789oSef£% ITC Veljovie" 1.00 cO,ECEkeiiEttifffififfiffi -° 2=62-/eNtt§..azsastassolaeilmnorst 1. mamas (.,;;!?.' ITC Weidemanrr 1.00 Madam. 1n ITC Zapf Book° 1.00 abcdefghijklmnop ITC Zapf Chancery® 1.00 ITC Zapf Dingbats° 1.00 ., ABCDEFGHIJKM ITC Zapf International° 1.00 abcdefghijkn U&Ic BACK COPIES: U.S. Price U&IC, V01.3, No.4 $1.50 ABCDEFGHI Vol. 4, No.4 150 U&Ic, Vol. 5, No. 4 150 _U&Ic, Vol. 6, No. 1 150 _U&Ic, Vol. 6, No.3 1.50 abcdefghij U&Ic, Vol. 6, No. 4 150 _U&Ic, Vol. 7, No.2 2.50 U&Ic, Vol. 7, No.3 1.50 U&Ic, Vol. 8, No. 3 150 ABCDEFG 26 Vol. 8, No.4 1.50 U&Ic, Vol. 9, No. I 1.50 b d h•k U&Ic, Vol. 9, No. 2 1.50 good U&Ic, Vol. 9, No.4 1.50 U&Ic, Vol. 10, No.1 1.50 U&Ic, Vol. 10, No.2 1.50 reasons _U&Ic, Vol. 10, No. 3 1.50 .ABCDEF _U&Ic, Vol. 10, No. 4 1.50 U&Ic, Vol. 11, No. 1 1.50 U&Ic, Vol. 11, No.2 1.50 tome• _U&Ic, Vol. 11, No. 3 1.50 Esprit,. U&Ic, Vol. 11, No. 4 150 U&Ic, Vol. 12, No. 1 150 1.50 abcdei _U&Ic, Vol. 12, No.2 U&Ic, Vol. 12, No. 3 1.50 _U&Ic, Vol. 12, No. 4 1.50 CD Bold Total Order, in U.S. funds $ Add postage, 100 per booklet $ 23 N.Y. 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Europe $20.00 Extreme Europe $20.00 Far East S24.00 Amerique du Orient $24.00 Europa $20.00 Ferner Osten , .. $24.00 South America . , . 20.00 Canada 8 00 Sud 20.00 Canada 8.00 Sudamerika . . 20.00 Kanada 8 00 Africa 24.00 Mexico 10.00 Afrique 24.00 Mexique 10.00 Afrika 24.00 Mexiko 10.00

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~~SURNAME GIVEN NAME NOM PRENOM ZUNAME VORNAME~~

~~TITLE FONCTION BERUF~~

~~COMPANY FIRME FIRMA~~

~~DELIVER TO: BUSINESS HOME DELIVREZ A TRAVAIL RESIDENCE PRIVEE LIEFERUNG AN FIRMA PRIVAT~~

~~ADDRESS ADDRESSE STRASSE~~

~~CITY VILLE CODE POSTAL POSTLE1TZAHL UND ORT~~

~~STATE ZIP CODE PAYS LAND~~

~~SIGNATURE SIGNATURE UNTERSCHRIFT~~

~~DATE DATE DATUM~~

My organization andior I am involved in the visual communica- Mon organisation et/ou je fais part ie de communications visuelles Meine Firma und/oder ich sind auf dem Gebiet der visuellen tions field yes no oui non. Kommunikation tatig _ja nein.

~~I am a student _ • yes _no. Je suis etudiant oui non. Ich bin Student ja nein.~~

BUSINESS CLASSIFICATION: CLASSIFICATION PAR PROFESSIONS FIRMENKLASSIFIZIERUNG (Check One Only) (Ne cocher qu'une seule fonction) (Bitte eine ankreuzen) (a) Printing (Commercial, Instant, etc.). (a) Impression (Commerciale, Instantanee, etc.). (a) _ _Druckerei (Akzidenzdruck, Schnelldruck, usw.). (b) Typesetting (Commercial). (b) Composition (Commerciale). (b) . Schriftsetzerei (Werk- oder Layoutsatz). (c) Advertising Agency, Art Studio, Design, Freelance. (c) Agence de publicite, Studio d'art, Conception, (c) _ _ Werbeagentur Grafikdesignatelier, , (d) Newspaper Magazine, Book Publishing. Independant. Freischaffender. (e) In-plant or corporate typesetting and other (d) __Journal, Revue, Edition de livres. (d) 7eitungs-, Zeitschriften- oder Buchveriag. reproduction services. (e) Composition faite sur place ou par une societe (e) Firmeneigene Schriftsetzerei, Reproduktion oder (f) Education and/or Libraries. et autres services de reproduction. Druckerei (q) Government. (f) Enseignement et/ou bibliotheques. (f) Bildungsanstalt oder Bibliothek (h) Corporation Advertising, Design, Promotion. (g) Governement. (g) BehOrde. til Communication and information processing. (h) Publicite de societe, Conception, Promotion. (h) Werbe-,Verkaufsforderungs- oder Designab- (j) Other (I) Traitement de communications et d'informations. teilung von Industrie- oder Handelsfirma. _Autres. Kommunikation und Datenverarbeitung. MY PRIMARY JOB FUNCTION IS: 0) (i) (j) _ _. _Sonstiges. (Check One Only) MON ACTIVITY PRINCIPALE EST: (k) _Artist, Illustrator. (Ne cocher qu'une seule fonction) MEINE HAUPTBERUFSTATIGKEIT: (I) Graphic Artist, Art Director Creative Director (k) _Artiste, Illustrateur. (Butte eine ankreuzen) (m) Display and Package Design. (I) _Artiste graphique, Directeur artistique, Directeur (k) KOnstlecIllustrator, (n) Pasteup Artist,Typographer, Keyboarder de creation, (I) Grafiker, Art-Direktor, Kreativ-Direktor ( 0 ) Type Director Type Buyer (m) Conception de ('exposition et de I'empaquetage. (m) Entwurf von Verpackungen oder Auslagen. (P) Advertising Manager, Sales Promotion Manager (n) Metteur en pages,Typographe, Claviste. (n) Reinzeichner, Schriftsetzer (q) Production Manager Office Manager (o) _Directeur de composition, Acquereur de (a) Typograf, Type-Direktor, Einkauter von Schriftsatz (r) Printing Buyer Purchasing Agent. caracteres d'imprimerie. (P) Werbe- oder VerkaufsfOrderungsleiter (s) _ Editor Writer (13) Directeur de publicite, Directeurde la promotion (q) Produktionsleiter, BUrovorsteher. (t) _ . ____ Teacher, Instructor des ventes. (r) Drucksacheneinkaufer (u) __. Audio Visual. (q) Directeur de production, Directeur de bureau. (s) ___Redakteur, Texter (v) ____ .. _ Principal Officer (r) _Acquereur de produits d'imprimerie, Agent (t) Lehrer Ausbilder (w) .-- . _ Secretary, Typist, etc. prepose a l'achat. (u) Audio-visuell. (x) __ _Other (s) Reclacteur, Auteur (v) Firmeneigentumer, leitender Angestellter NUMBER OF PERSONS EMPLOYED (t) Professeur, Instrucfeur (w) -- Sekretdrin, Stenotypistin, usw. (u) Audio-visuel. (x) _ _ Sonstiges. IN YOUR ORGANIZATION (v) Agent principal. (1) _. . 1-9 (w) Secretaire, Dactylographe, etc. ZAHL DER BESCHAFTIGTEN MEINER (2) _ 10-19 (x) Autres, FIRMA ODER BEHORDE: (3) — 20-49 (1) 1-9 (4) 50-99 NOMBRE DE PERSONNES EMPLOYEES (2) 10-19 (5) 100-249 DANS VOTRE FIRME (3) 20-49 (6) 250 and over (1) 1-9 (4) 50-99 (2) 10-19 (5) 100-249 (3) 20-49 (6) Ober 250 (4) 50-99 (5) 100-249 (6) 250 et plus

~~U&Ic 2/86 U&Ic 2/86 U&Ic 2/86 96~~

ITC Center Calendar of Events January 22—March 14 The ITC Center was established The eighth annual design compe- to introduce new and exciting STA 100 tition sponsored by the STA, in typo/graphic arts experiences. It Chicago includes 100 examples is a growing resource for students of graphic design, package de- and professionals sign, book design, illustration and photography, selected from more than 2,000 entries submitted from throughout the United States, Canada, Mexico, Europe and the Far East.

March 26—May 16 William Addison Dwiggins was a TYPOGRAPHIC printer, type designer, book designer, advertising artist, calligrapher, illustrator, author, critic TREASURES: and puppeteer. This exhibition, thefirst in almost 30 years, will feature a wide variety of his printed and original works. THE DESIGN OF Typefaces designed for Mergen- thaler Linotype Company, including Caledonia, Electra, Metro W.A. DWIGGINS and others, will be shown in various stages of development—from sketch to proof to finish. Book design and illustrations for the collected Rabelais and Marco Polo will be trackedfrom their inceptions. A timeline will trace the life's work of this American designer. This exhibition, organized by Steve Heller, Louise Fili and Dorothy Abbe, was funded in part by the National Endowmentfor the Arts; materials are on loan from the Boston Public Library.

Future Exhibition: June 4—August 28 TDC32: The 32nd Annual Type Directors Club Exhibition Hours: 12:00 noon-5:00 p.m. Open Monday—Friday (Closed February 17 and March 28) Admission: Free ITC Center 2 Hammarskjold Plaza (866 Second Avenue, between 47th Streets) 46th and For more information and group 3rd Floor reservations call (212) 371-0699. New York, New York 10017

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